The beginning 1854

1856 – 1884 The First Theatre Royal

The Swan Tavern owned the adjoining Landport Hall, formerly a racquets court, Henry Rutley, a circus proprietor, bought the tavern and hall in 1854, and decided to convert the hall into a theatre. He informed the magistrates that it would be ‘a place of entertainment to which the middle classes of the borough might resort.’ The licence was granted providing all communicating doors with the tavern were bricked up. On 29th September 1856, the new refurbished hall – now called Theatre Royal – opened with Massinger’s ‘A New Way to Pay Old Debts;’ this comedy, written in 1621, is still performed.

The frontage was about 38 feet, with the total depth 110 feet – a small theatre. There were two circles, numerous boxes being in the lower circle. A wide range of entertainment was presented, including opera and melodrama. Rutley died in 1874, and the theatre came under the control of a new company, which also owned the Prince’s Theatre in Lake Road.

1884 – The Second Theatre, (Called the New Theatre Royal)

Boughton soon realised the converted hall could never become a major theatrical venue; he decided to build a new theatre and commissioned CJ. Phipps to design it. Phipps was a fine architect, who had studied in Italy, and was responsible for many exquisite theatres – including Her Majesty’s Theatre in London.

The last production in the old theatre was ‘’Les Manteaux Noirs’’, a comic opera by Yorke, in May 1884.  On the 19th May, the demolition commenced. The outer walls of the much larger new structure had been built around the old theatre, so as to reduce the closure time to a minimum.

The New Theatre opened on 4th August, 1884, with ‘’Princess Ida’’. The principals were professionals from the D’Oyly Carte Opera Company, Officers form the Garrison sang other roles, supported by an amateur chorus of 100 and the Royal Marine Artillery Band.

The Portsmouth Times reported that ‘’A more brilliant scene than the opening of the New Theatre Royal has not occurred in the annals of Portsmouth for some time. There was about it all the pomp pride and pageantry which seems appropriate to such an occasion. It had almost the dignity of a high state function.

The military C-in-C, General Willis, and his wife were present in a private box and the theatre was packed. The second theatre had three tiers, with three boxes, one above the other, flanking the proscenium arch. The arch and the boxes were located at what is now the ends of the present circles. The décor was white and gold, and Ballard painted the various murals. The ground floor was entirely occupied by the pit, with cushioned benches; the dress circle, had armchairs, ‘’to allow for the increasing amplitude of ladies dresses’. The seating in the Gods is not described! The Theatre had a capacity of 2000. The stage was 40 feet deep with a proscenium opening of 30 feet.

There were only five entrances; the first, next to the tavern, was a private entry. The second and third doors led to the dress circle; a simple portico with a small saloon above provided shelter for patrons alighting from their carriages.  The fourth entrance was for the upper circle patrons and the fifth door led to the pit.  The gallery entrance was at the rear in Spring Gardens Lane, which before for the stage was extended, continued round the back of the theatre to the Tavern. The whole theatre was lit by gas. The telephone was installed in 1885.

The term ‘New’ Theatre Royal is not unique, many others had the prefix ‘New’ after rebuilding.  Likewise, the title ‘Opera House’; they did indeed frequently present opera, but were not designed specifically for opera.  In particular, the orchestra pits were usually completely inadequate for opera orchestras.

The Third Theatre – 1900

In April 1900 the theatre was closed, and all shows booked went to the Prince’s Theatre.  The reconstruction was carried out by J. Corke of Southsea; a firm which continued to operate until the 1940’s. De Jong of London was responsible for the plaster work, and Whiteheads did the marble, both of whom employed mainly Italians for these tasks.

Phipp’s building was retained, except for the boxes and proscenium arch; these made way for the present double tiered boxes and new proscenium arch.  The new stage was extended across Spring Gardens Lane and into the properties beyond, which Boughton had acquired over the years.  Its full depth was 65 feet, an enormous size and one of the largest in the provinces.  The dress circle was entirely reconstructed with fire proof materials and the plaster work was renewed throughout the building.

The old portico was removed, and the present cast iron balcony erected.  New entrances were made, all faced with magnificent polished granite and surmounted by very fine sgraffito panel. A figure of Neptune, complete with a gas flambeau, graced the pediment. 

On the 6th August 1900 the reconstructed theatre re-opened with the drama ‘MAGDA’ by Sudermann.  Mrs Patrick Cambell gave the oration and also played the title role in the play. With her in the play were George Arliss and Gerald du Maurier.

The colour scheme of the auditorium was cream, profusely overlaid with gold leaf, and terra cotta.  Rich, gold embroidered, scarlet curtains adorned the boxes and dress circle arcades. The great scarlet stage curtain heavily decorated with embroidery and gold thread, rose in tableu fashion to reveal an Act Drop showing HMS Victory being drawn into Harbour by Fame and attendant cherubs. Above the proscenium arch is the sole remaining mural – depicting Melpomene surrounded by boys, some of whom, carrying a large terrifying mask are frightening the others. The mural is a large convex-concave panel supported by an arcade of engaged Corithian columns, and flanked by a pair of superb winged tritans, blowing long trumpets.

The ceiling plaster work, designed as a wheel has delicate rococo ornamentation which contained canvases showing exotic birds wining in the sky.  They, together with some fine crystal light bowls, were eliminated during various decorations. The ceiling is raked in order to improve the sight lines for those at the back of the third tier, and this also aids the acoustic qualities of the auditorium.

The boxes, framed by marble pillars, bear military and naval symbols, and are surmounted by framed wheel traceries, before which stood heroic Greek busts on plinths.

The first tier panels are decorated with naval symbols – mermaids, dolphins, anchors, the sea and shells.  The brass light fittings were in the form of anchors which supported light globes. The second tier panels honour the military, with laurel-wreathed lion heads, and putti holding crowns with draped guidons and colours.  The scrools between the putti were gold leafed, and painted on them were swags of foliage, musical instruments and fruits.  These too have been destroyed. The third tier panels have deeply moulded plaster work decorated with typical S and C rococo motifs.

The dress circle saloon and smoking room in the balcony over the pavement were reserved for gentlemen.  The ladies had, however, a separate boudoir at one end of the balcony.

In rapid succession the great actors adorned it’s vast stage – Ellen Terry, Sarah Bernhardt, Henry Irving, Wilson Barrett, Martin Harvey, Matheson, Lang, Frank Benson and his Shakespearian company, Gladys Cooper, Fred Terry, Julia Nelson, Sybil Thorndike, John Gielgud, and so many others. To write about them all, would be to write a history of the English stage from the 1850’s to 1920’s .

Opera seasons lasting a month were frequent, the companies included Rouseby’s English Opera Company and the Royal Carl Rosa Company. ‘Aida’ and ‘The Flying Dutchman’ were amongst the spectacular operas presented. The annual pantomime was always a magnificent event, which included gorgeous transformation scenes, whilst demons made full use of the cunning stage lifts.  It was usually at the Royal, but some years Boughton would present a musical at the Royal for Christmas, and put the pantomime into the Prince’s Theatre. The ‘stage roller’ enabled horses to gallop across the stage.

In 1902 the prices of seats were

Boxes……………………..1½ & 1 guinea
Dress Circle and Stalls……4/-
Upper Circle……………....2/-
Pit…………………………1/-
Gallery……………………6d

The prices had not changed since the 1860s; no inflation in those stable years!

Soldiers in uniform, together with their families, were allowed in at half price – no mention is made of sailors! The ordinary public were allowed in at half price at 9.30pm.

Sarah Bernhardt on one of her frequent visits to the Theatre, scribbled on the wall of Boughton’s office, ‘MERCI, AU PLUS CHARMANT DIRECTEUR SARAH BERNHARDT 9 JUILET 1902’.

‘Flying Matinees’ were frequent. The principals would travel down from London in the morning, do the matinee, and return to Town for the evening performance (The steam train did the journey in 1 hour 50 minutes). The harassed stage manager had to produce form his own stock the required settings and properties.  The equally harassed electrician would have to rig a simple lighting plot.  Often the minor roles were taken by local people. Such improvisations would probably be unacceptable to present audiences. However, these flying matinees were hugely successful, and enabled provincials to see the great actors.

By the late 20s, the position for all theatres was desperate; vastly increased costs after the 1914-1918 war, and the advent of talkies and to some extent of the radio, caused theatres to close throughout the country. There were fewer companies on the road.  The Prince’s Theatre was already rented out as a cinema; the King’s Theatre had shown films in the afternoons since the mid-twenties, and eventually went over to films entirely. 

The Slow Decline

In 1932, the owning company decided to convert the Royal into a cinema. On the last night as a live theatre, 5th March a young school boy, so distressed at the closure, protested loudly and harangued the departing audience. They too joined in the protest; alas to no avail.

Films continued until 1948, when it became a variety theatre. Initially it did good business, but tottered to closure in October 1955. Mr K Edmonds Gately, the school boy of 1932, again protested about the closure; this time in a letter to the News. It appealed to the City to purchase the theatre, and make it a civic theatre.  The appeal fell on deaf ears – deafness still appears to be a chronic in many quarters!

During the period since 1932, disastrous decorations were effected.  Victorian light fittings were swept away, paintings were obliterated, and ghastly colour schemes implemented.

In 1957, the theatre re-opened as a repertory theatre under Kim Peacock and Hector Ross. The company moved to the King’s in 1959, but soon were disbanded. Finally from 1960 to 1966, it was used for bingo and wrestling. The nadir was reached.

Tragic years ensued

1968 – Squatters encamped in the theatre; thieves walked in and stole all available brass fittings and roof lead.

1972 – Children entered, and playing with fireworks caused a fire which destroyed the great stage and technical block.  Only the magnificent actions of the Fire Brigade saved the auditorium.

1973 – Young vandals entered and carried out mammoth destruction; great holes were made in the ceiling; plaster decorations, statues, busts, stained glass windows were smashed. It was a terrible, tragic sight.

Throughout these sad years rain poured in through the roof, and cascaded down the tiers like a waterfall. Although listed, neither the owners nor the Council took any steps to protect or maintain the building.

In 1970 a few people from St John’s College sent the following letter to The News ;-
‘Schoolboys’ Bid To Save Theatre’

‘Enough has been printed to make it clear that the loss of Portsmouth’s Theatre Royal would be a serious blow to lovers of the theatre everywhere. Surely there are sufficient enthusiasts to raise the money that could save this fine building from destruction? Could not someone with sufficient influence call together all those who would be willing to lead a ‘cell’, each dedicated to raising from £50 - £1,000? We at St John’s College would be most willing to create a ‘cell’ to help save the theatre.’

As a result the Theatre Royal Society was founded, just in time to take the leading role in opposing the destruction of the theatre at a Government Enquiry. The application for demolition was refused. From 1975,volunteers were allowed to enter the building, and attempted to prevent further damage and vandalism.  It was due to their efforts, guided by Dean Clark, an architect devoted to historic buildings, that the theatre survived those dark years.

The Theatre Royal Society set up a Trust Company in 1975. It was this Trust Company which managed to purchase the Theatre in 1980, when the Portsmouth Theatres Company went into liquidation. The building, by then was in a perilous state; the roof was about to collapse and the iron balcony was unsafe. Some £1,000,000 was been spent on repairs at this time; the auditorium and foyer were made structurally sound and the plaster work restored.

Looking to the future

In January 2004 the theatre closed for 6 months, re-opening September/November 2004 with the following refurbishments:-