L'événement culturel de l'été à Bruxelles!
Topologie du théâtre
Nombre de salles actives: 1
Salle 1: (786) 1882 - Actif
En métro: Charing Cross / Embankment
Adresse: Northumberland Avenue, London, WC2N 5DE
Bâtiment: 1882. The Royal Avenue Theatre opens, designed by F. H. Fowler for Sefton Parry / 1905. Cyril Maude initiates comprehensive rebuilding programme, but partial collapse of Charing Cross Station on 5 December temporarily halts work / 1906. Architects Blow and Billerey commissioned to remodel Interior of building / 1907. Theatre reopens on 28 January as The Playhouse / Statutorily Listed Historic Building: Grade II.
Ambassador Theatre Group
Interior of unusually high quality
Se joignent à Matthew Perry: Christina Cole, Jennifer Mudge, et Lloyd Owen.
La star de 'Friends', Matthew Perry, jouera dans la création mondiale de sa pièce The End of Longing, au Playhouse Theatre de février à mai 2016.
La fermeture est postposée du 3 janvier au 24 janvier 2016.
On the Thames Embankment, close to Embankment Underground Station, the Playhouse Theatre is removed from London’s theatrical epicentre. It occupies a site at the foot of Craven Street, a short distance from No. 36 where, between 1757 and 1762, the American scientist and statesman Benjamin Franklin lived. The theatre appears somehow trapped between the sheer face of the railway bridge as it enters Charing Cross Station and the overscaled buildings of Whitehall Court. Opposite the theatre is an attractive and quite rare surviving example of a green-painted and timber-boarded cabmen’s shelter. Close by is London’s single public memorial to W. S. Gilbert: a modest bronze plaque by Sir George Frampton - sculptor of Peter Pan in Kensington Gardens and Nurse Edith Cavell outside the National Portrait Gallery - inconspicuously fixed to the Embankment wall.
The first playhouse on this site, the Royal Avenue Theatre, was designed by F. H. Fowler and built in 1882 as a daring enterprise by the speculator Sefton Parry, gambling that when the South Eastern Railway Company needed to widen the station access, it would pay an extortionate sum of money for the building. Regrettably for Parry, this never happened. Originally of two storeys and faced in Portland stone, the restrained French Renaissance façade of eleven bays curves gracefully to abut the railway bridge. At the time of its construction the scale of the building, crowned by an open balustrade and sculpted figures, sat comfortably with the adjacent mid-18th-century brick terraced houses; but much has changed since then. For 10 years prior to 1987 the future of the theatre had looked bleak, until Robin Gonshaw, a loyal friend and supporter of the Playhouse, bravely undertook a comprehensive restoration programme, financed in part by the creation of offices, known as Aria House, in a third attic storey above the building. Although the expansion was carefully planned in detail by architect Graham Berry, it has altered the relationship of scale between the buildings, and as if to exacerbate the situation the group is now dominated dramatically by Terry Farrell's much praised rebuilding of Charing Cross Station (1987-90).
In 1905 Cyril Maude became theatre manager, and immediately set about remodelling the building, again commissioning Fowler. The work progressed well until 5 December, when disaster struck: part of the railway station collapsed on to the theatre, killing six workmen and injuring many more. Handsome compensation was paid by the railway company and rebuilding began again, within the existing outer envelope, this time to the more fashionable designs of Blow and Blllerey; most of the design work was executed by the Beaux Arts architect Ferdinand Blllerey, in a Louis XV style. Perhaps hoping to change his luck, Maude renamed the theatre the Playhouse.
The quietly elegant cream and gold foyer and plain main staircase herald an auditorium representing a sumptuous exercise in splendour. The basket-arch proscenium, crowned by Thalia, one of the three daughters of Zeus and ‘a delight to the gods and men', is flanked by boxes supported on caryatids. Serpentine balconies have turned baluster fronts, the upper level sitting uncomfortably against painted wall-panel decoration. Under the dress circle is a bold triglyph and bucranium frieze.
Under the stage the timber machinery, which almost certainly dates from 1882, is well preserved, and second in quality only to that sutviving in Her Majesty’s Theatre. Splendidly rerigged and repaired by David Wllmore of Theatresearch in 1987, it comprises a grave-trap, one corner trap, three bridges and a thunder run. Iron crab winches remain in situ on the mezzanine, as do a number of trip levers. Above the stage, to accommodate Aria House, the original grid has been lowered, losing, in the process, four fine timber drums used to fly heavy scenery or props; the compromising of this superb late 19th-century stage must be regarded as extremely regrettable.
In 1950 the British Broadcasting Corporation took over the theatre, and it was from here that comedy classics such as The Goon Show and Hancock’s Half Hour were recorded. Stage successes have Included The Rose Tattoo starring Julie Walters and Tartuffe with Felicity Kendal (both 1991-2).
1882. The Royal Avenue Theatre opens, designed by F. H. Fowler for Sefton Parry / 1905. Cyril Maude initiates comprehensive rebuilding programme, but partial collapse of Charing Cross Station on 5 December temporarily halts work / 1906. Architects Blow and Billerey commissioned to remodel Interior of building / 1907. Theatre reopens on 28 January as The Playhouse / Statutorily Listed Historic Building: Grade II.
The Stalls section is undivided and hexagonal shaped, with the longest rows towards the middle of the auditorium. Seats are well raked giving clear sight lines even towards the rear of the section. Due to the size of the stage, seats towards the ends of each row in the rear section have the most restricted view and can feel outside of the action. The rows do not curve around the stage, meaning the view is straight on from each seat, even towards the aisles.
The stage is set fairly high which can cause problems in the front two rows, so those with children may wish to sit further back to avoid constantly looking up. The Dress Circle overhang occurs far back in the Stalls and does not affect any seats in the section, giving clear views throughout.
The Dress Circle is divided into three sections by two aisles on either side of the large central section. The balcony curves on either side around the stairwells, with the side sections sitting above, divided by balustrades. The best seats are the front four rows, although row A follows the curve of the balcony and may involve leaning over the balustrade.
The railings become an issue for those sat on either side of the section and do restrict audience members seeing the front of the stage and the apron extension. Smaller patrons and children should avoid these seats, although they can offer good value for money when discounted. Legroom in the Dress Circle is particularly good, with lots of aisle space for those wishing for additional room.
The Upper Circle is a similar layout to the Dress Circle with three sections divided by two aisles running the length of the auditorium. Most seats enjoy a technically clear view, although the rake and distance from the stage can be a problem for some. The Upper Circle feels set back from the action and is not suitable for those who have an issue with heights.
Safety bars and rails affect seats closest to the aisles, but have a varying affect depending on height of audience. These seats are usually discounted, but some may prefer sitting on the side blocks for the same price. Legroom is not as good as elsewhere in the theatre, especially for those sat nearest to rails and posts.
Interior of unusually high quality