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BLACKPOOL THEATRES

www.blackpoolgrand.co.uk

This page contains images of Blackpool theatres, past and present.

These include box plans for the Opera House, Palace Theatre and Grand Theatre, and the fetchingly named Tower Aquatic & Variety Circus’.

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The Grand Theatre, Blackpool
By T A Pendlebury

The sumptuousness of plush,
the lusciousness of lush
the glitterness of gold
the ancientness of old;
the velvetness of drapes
the shapeliness of shapres
of goddesses in plaster
surmounting tall pilaster.
The Reubens-ness of ceilings,
the cherubness and feelings
of grander yesterdays.
the musicals and plays,
the comedy, the dance,
the sleight of hand; romance.
the interval, the bell,
the portly clientele,
the glamour, the cigars,
the twinkleness of stars.
The Northern Town’s elect –
salubrious and select.
You serve a culture’s taste
that’s far too good to waste.
You typify proud past;
Long may your glory last!

Advertisement from The Era Annual, 1894

The following descriptions of Blackpool theatres are reproduced, with kind permission of Paul Connolley, from John Earl and Michael Sell (eds), THE THEATRES TRUST GUIDE TO BRITISH THEATRES 1750-1950, A Gazeteer, London, A & C Black, 2000, pp. 16-20.

Copies of this book, containing critical assessments over over 650 theatres, are available from The Theatres Trust price £14.99.

These descriptions are compiled by rapporteurs and will be updated in future editions of the Gazetteer.


ABC
Church Street / King Street
Other names
1895-
1900 Empire
1900 Hippodrome; King's (briefly)
1963 ABC
later Cannon, MGM
Original architect
1895 John Dent Harker
Later works
1900 Unknown: converted to circus
1910 Unknown: arena removed; main floor raked
1963 C.J.Foster: almost totally rebuilt
Current use Syndicate nightclub
Capacity c.2000 (prior to subdivision)

Built as a large ballroom/music hall called the Empire with a flat floor, gallery round three sides and shallow stage. Converted to circus In 1900 and renamed Hippodrome. In 1910 the arena was removed and the main floor raked for cinema use, with seasonal variety.

After use as a TV theatre for live variety shows in the 1950s and early 1960s the theatre was almost totally rebuilt in 1963, leaving very little of the Hippodrome. The outer side, front and rear walls follow the footprint of the old theatre and are probably three-quarters height of the original. Designed by C.J. Foster (chief architect for ABC).it consisted of stalls and a deep single balcony with a combined capacity of 1934. The ceiling was lit by hundreds of small individual lamps set in gold moulded panels concealing ventilation and sound. After many years of theatre usage the auditorium was split into three cinemas. The stage, orchestra pit and original (1963) proscenium and front stalls and dressing rooms all survive behind the screens of 2 and 3, but are nothing to excite. The cinema closed in 1998.

Christopher Brereton, Ian Grundy, Sally McGrath

Grand
Church Street
Original architect
1894 Frank Matcham
Later works
1910 Unknown: pit incorporated into stalls; circle enlarged
1977 John Wyckham (consultant): Interior refurbished (while still a bingo house)
1980-98 MacKeith Dickinson and Partners: extensively restored and Improved; entrance canopy reinstated; studio theatre created; gallery reseated
Listed Grade II*
Current use Theatre
Capacity 1215

The auditorium of this theatre, built as a drama house in 1894, is one of Matcham's finest creations, combining intimacy with a sense of imposing spaciousness. He achieved this by stacking the audience vertically in three closely spaced, relatively shallow, balconies which curve well round the sides, separated from the proscenium by only one box on either side at dress circle level. The boxes are each surmounted by an elaborate arched and pedimented canopy rising above the level of the gallery front. Splendid high round-arched proscenium frame, with open plasterwork decoration on the inside of the arch and large oval painted panels in the spandrels, by Binns of Halifax. Magnificent oval ceiling incorporating six painted panels of composers. Opulent plasterwork on balcony fronts, boxes, proscenium and ceiling. One of the best surviving examples of the astonishing density of 'art decoration' in a Matcham house of the 1890s. The only slight disappointment is the rather aggressive colour of the post-1980 house tabs. [Note: These house tabs were in fact partially original - they were Utrecht Blue as was the seating]

Exterior in plain brickwork, apart from the Baroque corner entrance in stone, with spirited, cheerfully 'incorrect' details, topped by a jolly copper fishscaled dome rising behind scrolly gables with finials and crowned by a colonnetted lantern. [Note: When you look closely this object is a pineapple, an Eastern symbol of welcome and opulence!]

All has been progressively and sensitively restored since the Grand survived a threat of demolition in 1973. The battle for its survival was one of the earliest of a series of events which eventually turned the tide of post-war destruction of theatres (cf london, the Granville, Waltham Green, demolished in 1971, leading to the immediate listing of many Victorian and Edwardian theatres, and the Lyric Hammersmith, demolished c.1970 and recreated in 1979).

The Grand is now owned by a Trust which has run it as a successful touring house since 1981 .Their recent reinstatements, additions and backstage improvements (including an 80 seat studio) have greatly enhanced the potential of this magnificent theatre.

John Earl, Christopher Brereton

North Pier Pavilion
The Promenade
Original architect
1874 R. Knill Freeman
Later works
1922 Unknown:reinstated after fire
1939 Unknown: rebuilt after fire
Listed Grade II
Current use Theatre
Capacity 1529

The Blackpool Pier Company opened the North Pier in 1863, but the Pavilion was not built until 1874. This was known as the Indian Pavilion, referring to its style of decoration. An inscription read 'The Hearing Falls in Love before the Vision'. No architectural description has so far been found but top-quality artistes appeared there.

The Indian Pavilion suffered severe fire damage in 1921, was reinstated and reopened In 1924, only to be destroyed by another fire In 1938. A replacement was quickly erected, opening 1939. Several changes in ownership have since occurred. The last change was in 1998 when leisure Pares took over.

The present building is a fairly basic box covered with corrugated sheeting, with some recladding In plastic-covered steel. Seating is on one level. Sparse internal decoration in vaguely Art Deco style. Broad, shallow barrel vault ceiling; wide, low proscenium arch with inconsequential decoration. Minimal front of house; ample dressing rooms; orchestra pit to accommodate twelve musicians.

Plans to build a 2000-seat replacement have been discussed but no action has followed.

Sally McGrath, Ian Grundy


Theatre Royal
Talbot Square
Other names
1868 The Arcade and Assembly Rooms
1907 Tivoll Electric Theatre
Original architect
1868 Unknown
Current use Public house
Capacity (was) c.800

The building opened in 1868 as the Arcade and Assembly Rooms, said to be 'magnificent'. It contained a basement arcade of elegant shops, refreshments and a billiard-room, together with a spacious hall with a gallery on three sides, and a stage for theatricals and entertainments. Becoming the Theatre Royal, the plays were of the highest quality, and at one point, there was a stock company. It was one of the first places In Blackpool to show animated pictures and, by 1907, It became the Tivoli Electric Theatre.

Exterior basically intact on a triangular site at the junction of two streets. low, octagonal tower on corner, side elevations subdivided by piers, framing recessed panels and crowned by a modillion cornice. First floor at corner now has glazed conservatory.

After cinema and bingo use, it became a 'wine lodge', with live entertainment, often of music-hall style with local entertainers. The former theatre space is much altered. [Note: The 'wine lodge' is seperate to the theatre space.]

Christopher Brereton, Ian Grundy, Sally McGrath

Tower Ballroom
Tower Buildings
Original architect
1899 Frank Matcham
later works
1956 Andrew Mazzei: reconstructed after fire
Listed Grade I
Current use Ballroom
Capacity up to 3000

Although not a theatre, the Tower Ballroom makes use of the repertoire of theatre architecture and is one of Frank Matcham's most important works. The Tower buildings were designed by Maxwell and Tuke in 1894. Matcham was called upon to redesign the original ballroom in 1899.

The Interior conveys an impression of quite staggering opulence. Two tiers of shallow balconies run round three sides of the hall, divided into broad bays by square piers. The upper balcony takes the form of slightly bowed boxes, each of one bay's width. The end facing the stage has three balconies. The proscenium frame to the orchestra platform is flanked by onion-domed boxes, stylistically related to some Matcham theatres designed about this time but, as always with this architect, given an individuality which belongs to this particular building, rather than to an habitual style. The richly ornamented, segmentally arched ceiling is divided into framed painted panels rising from a false-galleried cornice, bowed forward in each bay and supported on winged term caryatids. The dance floor has been reduced in size by a broad strip of carpet to mark the sitting out areas on three sides (but it is still vast). The stage has a Wurlltzer organ and a modern Yamaha 130X.

The ballroom suffered a seriously damaging fire in 1956. Remarkably for that time, when appreciation of this kind of architecture was at its lowest ebb, a careful reinstatement was carried out by Andrew Mazzei. As now seen, it is.comparable with the finest late Victorian rooms in Britain.

Christopher Brereton, John Earl, Ken Woodward

Tower Circus
Tower Buildings
Original architect
1894 Maxwell and Tuke (probably with Frank Matcham)
Listed Grade I
Current use Circus
capacity 1600

This circus interior is probably by Frank Matcham. Stylistically it could certainly be his work. Fitted in between the four giant legs of the Tower itself, this gorgeous interior and the Great Yarmouth Hippodrome (qv) are the only surviving complete examples in Britain of the once popular purpose-built circus/hippodrome building type which was common throughout Europe in the C19 (other British examples, like the Brighton Hippodrome and Liverpool Olympia, have been converted to non-circus uses).

The Tower Circus has ceased to use animals. Circuses occur only occasionally, as do other entertainments requiring the flooding of the ring. [Grand webmaster: actually the circus performs approximately 40 weeks per annum]

The space remains virtually unchanged. The seating is on two levels, with the upper level In the form of four balconies, set within four great semi-circular arches formed within the tower legs. Wonderfully fanciful Alhambresque plasterwork enrichment everywhere.

Christopher Brereton, Victor Glasstone, John Earl, Ken Woodward

Winter Gardens Complex
Church Street
Original architect
1875 Thomas Mitchell of Oldham
Later works See entries for individual elements
Listed Grade II*

The Winter Gardens, together with the Tower and its attendant buildings (including the Tower Ballroom and Circus, qv) established Blackpool as the premier brash seaside resort - the one that the others could only aspire to be. Its success owed much to the management of William Holland, appointed in 1887.

It is interesting to note that Pevsner wrote in 1969: 'The Ministry...has issued no list for Blackpool, which means that there are no buildings of architectural or historic interest in the town. It depends of course what you mean by historical and by architectural.' It does indeedl To be fair, the listing investigators have more recently paid careful attention to Blackpool, recognising that it has its own
outstandingly important social history and something in the way of quite special architecture.

The Winter Gardens is a vast entertainments complex containing a number of individual elements built round a pre-existing house (still just discernible) over a long period between 1875 and 1939. The first part opened was an outdoor skating rink in July 1875. Grand opening of the complex was in July 1878.

The parts of the Winter Gardens we have found to be of particular Interest are described separately following this item.

The Winter Gardens has a complicated history, traced by Brereton and Slinn in a 1984 Theatrephile article. It contains other components of lesser but still noteworthy interests. The exotic Indian Lounge has, regrettably, gone but the Spanish Hall (by Andrew Mazzei, c.1929), Baronial Hall and Renaissance Room remain and have a kind of Impermanent 'atmospheric cinema' quality which goes well with this kind of exhibitionistic entertainment building.

It has to be said that parts of the complex come fully to life only during conferences.

John Earl

Winter Gardens Pavilion
Other names
1878 (Grand) Pavilion
Winter Gardens Theatre
Original architect
1878 Thomas Mitchell
later works
1889 Thomas Mitchell of Oldham: converted to theatre
1896-7 Wylson and Long: auditorium rebuilt
1982 Mackeith, Dickinson Partners: stalls rake removed; converted
for multiple use/conference hall
1986 Mackeith, Dickinson Partners, auditorium reopened to ambulatory
Listed Grade II*
Current use Conference hall
Capacity c.1500

The Grand Pavilion was built as a glass domed winter garden, giving the complex Its name, and converted to a theatre (the original design having proved acoustically disastrous) by Thomas Mitchell in 1889. The present auditorium of 1896-97 is by Wylson and Long. It is no longer a theatre, the proscenium stage having been blocked off, the stalls levelled and a restaurant formed In the stage house, but it is still a most impressive space and a nationally important home for major conferences. The vestigial forestage must now be entered through the auditorium doors.

It is surrounded by a wide, encircling arched ambulatory, linking it to the rest of the complex. A splendidly opulent apsidar-ended music hall interior, it has two balconies, supported on iron columns, running round three sides, the first with nine rows in the centre, the second with twelve rows, set back to the line of the sixth row of the balcony below. The sides curve round to meet superimposed stage boxes framed between giant enriched composite columns surmounted by segmental pediments. Richly decorated ceiling over the whole space with caryatids rising through the perimeter cove to support a centre divided into deeply coved panels ornamented by garlands.

The alterations made could, if the opportunity were to arise (it is to be hoped that it will), be restorable. As a theatre or concert hall it would seat perhaps 1200. Theatre use seems unlikely in a town now so well provided, but it would be a pity if its present completely acceptable conference use were to leave it for ever with a 'blind' proscenium.

John Earl, Christopher Brereton

Winter Gardens
Empress Ballroom
Original architect
1897 Mangnall and Littlewood
Listed Grade II*
Current use Ballroom and conference hall
Capacity up to 3000

The Empress Ballroom may seem marginal for inclusion in this gazetteer, but it is a splendid room with a marked theatrical flavour, providing an interesting comparison and contrast with Matcham's Tower Ballroom. It was, in fact, built (like the less successful Winter Gardens Ferris Wheel) to answer competition from the Tower complex. The Empress adopts the alternative ballroom plan, where the orchestra is placed, perhaps more logically, at the centre of the
length, rather than at the end. This arrangement was also adopted in one or two early music halls and more often in flat-floored concert rooms where good theatre sight lines were not essential (as, for example, in Bassett Keeling's 1864 Strand Musick Hall in London).

The room is divided into eleven bays in its length and five in Its width, defined by iron fluted columns which rise from faience tiled pedestals to support the semi-circular, 22.85m (75ft) span, arched beams of the ceiling. The ceiling is divided into 77 square panels from which are suspended 15 crystal chandeliers. There is a single balcony (two at the ends) with fronts bowed between the columns. Outside the columns is a promenade extending all round the room, Including behind the orchestra. The orchestra takes the form of a semi-domed recess framed by an elaborate proscenium with four frisky caryatid supporters and a big crowning cartouche with a great deal to say for Itself. All the plaster surfaces are moulded and enriched. The room once had a mighty pipe organ.

Occasionally' put to its original purpose for dance festivals, etc., it is also used for conferences. Tiered seating can be brought In.

John Earl, Ken Woodward


Winter Gardens
Opera House
Other names
Her Majesty's Opera House
Original architect
1889 Frank Matcham
Later works
1911 Mangnall and Littlewood: reconstructed
1939 C.H. MacKeith: reconstructed after fire (a new building)
Current use Theatre and conferences
Capacity c.2920

The Opera House has had an unusual history. Few Matcham theatres are ever handed over to lesser architects for improvement, but, in this case, his fine early design (1889) with its simple geometry but richly crusted ornament, was rejigged In 1911 by Mangnall and Littlewood. Their theatre was burnt down in 1938 but its white faience facade and foyer (both altered) survive.

The 1939 theatre, by Charles MacKeith is quite unlike its predecessors, a confident essay In 1930s' geometric cine-design, with a series of sinuous arches, originally emphasised by coloured bands, bridging the auditorium. Surface ornament is limited to the proscenium arch, which is enlivened with a broad band of angular relief in Deco manner. Two plain-fronted balconies, a little altered. A canopied box was added in 1950 for a Royal Variety Performance.

The Opera House was designed for the mounting of spectacular shows and can handle major tours.

John Earl

BLACKPOOL'S LOST THEATRES


Palace
Promenade
Other names
1899 Alhambra
1904 Palace
Original architect
1899 Wylson & Long (London)

Opened on the 29th May 1899 as the Alhambra, it comprised of a theatre, circus, ballroom, cafes and a host of minor attractions. Designed in a free treatment of Italian Renaissance architecture. The ballroom was of a French Renaissance style by J.M. Boekbinder, with ceiling decoration which included a centre panel, the triumph of Apollo bringing art and music into the World. The Circus with luxuriously upholstered arm chairs, covered with bright crimson Utrecht velvet, had a thick pile carpet in two crimson shades. The theatre, in terra cotta, green and gold was described as “new and novel as well as dainty and pleasing”. The vastness of the Alhambra may be gathered from the fact that the furnishing of the establishment used a quarter of a million yards of carpet, linoleum, velvet and plush.

After suffering disastrous losses, in 1902 the company was wound-up and the Alhambra sold to the Tower Company. They commissioned architect Frank Matcham to redesign the interior. The “Palace” as the building was named when it re-opened in July 1904, proved to be very popular. Many famous artistes performed in the Palace of Varieties. In 1911 the Tower Company reshuffled the contents to incorporate a cinema. The building closed in 1961 and was replaced by Lewis’s department store. That has now been replaced by Woolworths and the Harry Ramsden’s Restaurant.

Prince of Wales
Promenade
Original architect
1877 Unknown

The Prince of Wales Theatre opened on the 20th August 1877 as part of the “Prince of Wales Arcade” which incorporated a market, shops and an assembly room. It was worked by a stock company performing a different play every night. Occasionally a touring company performed. The Prince of Wales survived until 1897 when it was demolished to make way for the Alhambra Building.

In October 1880 The Prince of Wales was leased to Thomas Sergenson, soon afterwards he leased the Theatre Royal on similar terms. He began operating a stock company performing the likes of “East Lynne” a popular Victorian tear-jerker whose principal character “Little Willy” has the immortal line; “Dead! Dead! And never called me Mother!” Sergeson had success with theatres where everybody else had failed. From the profits of his rented theatres he bought a block of old properties on the corner of Church Street and St. Ann’s Street in October 1887. This was to be the site of the Grand Theatre and Sergenson would be its founder manager.


Queens
Hounds Hill
Other names
1877 Borough Theatre
1937 Feldman’s
1952 Queens
Original architect
1877 Unknown
Capacity (was) c.1700

Opened in September 1877 the stage at the time was described as “somewhat small for theatrical purposes, but well adapted for light pieces which do not require special effect”. The theatre was sold, along with the Borough Bazaar which shared the building, in December 1879 and was renamed Bannister’s Bazaar. Rebuilt in 1928, in 1937 it became Feldman’s Theatre, named after the successful music publisher Bertram Feldman. In 1938 the building was extensively renovated and many art-deco features added. In 1952 it was again sold and became Queen’s. The building was eventually closed in 1971 and demolished in 1972 to make way for a new C&A department store, now T K Maxx.