The London Palladium, Argyll Street, Oxford Circus, London (original) (raw)
Formerly - The Corinthian Bazaar / Hengler's Grand Cirque / The National Skating Palace / The Royal Italian Circus
Introduction - Early Site History - Pre Opening Report - Pre Opening Report 2 - A Variety House - Sunday Night at the London Palladium - Backstage at the Palladium - Royal Variety Shows and Later History - Photographs of the Palladium - 100th Anniversary - Recommended Books on the London Palladium
Above - The London Palladium whilst celebrating it's 100th anniversary in December 2010 - Photo M.L.
The London Palladium opened on the 26th of December 1910 with a Variety Show and a one act play called 'The Conspiracy' (See Opening Programme Below Right). In December 2010 the Theatre, which is one of the most well known in London's West End, celebrated its 100th anniversary.
Quick Facts
The Theatre was designed by the renowned Theatre Architect Frank Matcham and built at a cost of £250,000, with an auditorium constructed on three levels, stalls, dress circle, and upper circle, with a massive original seating capacity of 3,435, today a more modest 2,298. Yet despite its size, even today, the Theatre is surprisingly intimate, with actors and audiences alike always adoring it. More information on the London Palladium itself can be seen below, but first some details of the early history of the site.
Earlier Buildings on the Site
Above - The Corinthian Bazaar, Argyll Street, London - From the Illustrated Weekly News, 20th of July 1867. The Facade of this building was retained, if a little altered, for the construction of the London Palladium in 1910.
Originally on the site now occupied by the London Palladium was the London home of the Dukes of Argyll; Argyll House. In the 1800s the first Earl of Aberdeen lived there until his death in 1860 when the building was demolished and the land excavated so as to build Bonded Wine Cellars on the site.
In 1867 a new building, the Corinthian Bazaar, was erected on the site above the Haig & Co., Wine Cellars, it was designed by Owen Lewis with an elaborate Facade said to have been designed by Sir John Soane which would later be retained, although altered, as the Facade of the London Palladium in 1910.
Right - The Interior of the Corinthian Bazaar, Argyll Street, London - From the Illustrated Weekly News, 20th of July 1867.
The Corinthian Bazaar opened on the 30th of July 1867 and was a kind of indoor Market with a hundred different Stalls and Traders plying their wares, many of these stalls were selling live song birds in cages, others sold stuffed birds, and others were selling jewelry, clothing, Irish lace, photographic equipment, artists equipment, books, leather goods including Rhinoceros hides, artificial flowers, and Tunbridge ware. There was a large fountain in the centre of the Hall, mirrored walls, and a refreshment counter with sitting rooms attached.
But it didn't last very long and was soon acquired by Charles Hengler, who had worked in the Circus all his life. He had the building altered and renamed it Hengler's Grand Cirque which opened in 1871. The architect for this reconstruction was J. T. Robinson and it had a capacity of 1,090, but the building was eventually condemned as, apart from the Facade, it was constructed entirely out of wood.
In 1884 Hengler had the building enlarged and almost completely rebuilt to the designs of C. J. Phipps, still retaining the original Facade of the Corinthian Bazaar. However, when Hengler died in 1887, even though his sons continued with the enterprise, this kind of Circus was already on its way out. Another Circus Showman called Edward Wulff then took over the running of the building for a short period but was unsuccessful so in 1895 the place was turned into a skating rink, called the National Skating Palace, which was famed at the time for having real ice which was manufactured on site, see images below.
Above - A Series of Photographs from the National Skating Palace, formerly Hengler's Grand Circus, in 1904 - From The Bystander, 20th of January 1904.
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_The National Skating Palace was quite successful at first but ten years after it had opened another go at using the former Hengler's Building for Circus Events was tried out instead when it became the Royal Italian Circus in 1905 (see programme right).
Right - A programme for The Royal Italian Circus, formerly Hengler's Grand Cirque , circa 1905 - Click to see Entire Programme.
But this venture was also short lived as the London Hippodrome had already opened and was a major success with its new style of Circus and Music Hall combined, and the London County Council had near enough condemned the old Hengler's building anyway, demanding major alterations and improvements which were too expensive for the then owners.
Left - Walter Gibbons - Click for an article about Walter Gibbons and the site and design of his new Theatre, the London Palladium - From the ERA, 5th February 1910.
Consequently the Royal Italian Circus closed down and the lease then became the property of a syndicate headed by Walter Gibbons, shown left, who was already drawing up plans with the architect Frank Matcham for a new Music Hall on the site, namely the London Palladium, see below.
The London Palladium 1910
Two days before the London Palladium opened the ERA reported on the new Theatre in their 24th of December issue saying:- 'Brilliant in white and gold, with seating in warm red, the house sounds the last word in luxury and appointment, and the magnificent sweep of the dress circle presents a remarkable appearance from the stage.
Right - The opening Variety Programme for the London Palladium on the 26th of December 1910 - Courtesy Chris Woodward - Click to see Entire Programme.
In the great Palm Court at the back of the stalls, one thousand persons can be comfortably served with tea. This is a very striking feature of the Palladium and the Palm Court is of all Norwegian Rose granite which, especially, looks extremely attractive. In this Palm Court a ladies' orchestra will play daily between performances.
The decorations are very beautiful, Rose du Barri hangings adorn the boxes, and upholstery of the same colour has been employed in the stalls, while the orchestra is enclosed by a marble balustrade, Generally speaking, the colour scheme of the walls is pink, white and gold, with coloured marbles, and certainly there is not a dull note anywhere.
Left - A 1912 Variety Programme for the newly opened London Palladium under Charles Gulliver's Direction. - Click to see Entire Programme.
The walls of the main vestibule are painted silver. Perhaps the most unique feature is the box to box telephone that has been installed. It will therefore be possible for the occupants of one box, recognising friends in another box, to enter into conversation with them.'
The above text in quotes was first published in the ERA, 24th December 1910.
Above - The Auditorium of the London palladium in September 2017 - Courtesy Piers Caunter.
The Building News also reported on the new Theatre in their 23rd of December 1910 edition saying:- 'When this new theatre of varieties is opened, on Boxing Day, it will prove a formidable rival to the other houses. There is seating accommodation for 5,000, and the fare promises to be excellent. Mr. Martin Harvey is to appear in a one-act play with his full company; while, a little later, Mr. Thomas Beecham will give a series of condensed operas.
Right - The Main Frontage of the London Palladium as envisioned in 1910 - From the Building News, 23rd of December 1910.
Slowly but surely "the halls" have changed their character. They are more like theatres than ever, and the quantity and quality of their programmes contrast more and more forcibly with the mostly meagre bills of the "legitimate" houses, where the performance starts later and later, and, the long intervals between the acts taken into account, seldom affords more than an hour and a half's entertainment, at a charge at least double that of the variety theatre for three hours' amusement enjoyed in comfort, which, in the cheaper seats, few of the theatres proper seek to emulate.
Messrs. Frank Matcham and Co. are the architects of the new building. The frontage to Argyll-street (which is Italian in style, designed by Sir John Soane) has been retained, the shelter being improved and refixed in the centre of the façade, which has been altered by the removal of the existing large piers, and a fine, wide opening thus formed, flanked with granite columns, carrying a bold moulded and keystoned arch (taking in the first floor), with typical figures of the drama in the corners.
The ground floor of this opening contains pairs of rich, polished mahogany swing doors, forming the entrances to the principal parts, and over this is an outer balcony, approached from the grand saloon. The existing openings at the side of the above form extra exits from different parts of the house.
Left - A variety Programme for the 6th of July 1936 at The London Palladium, directed by George Black.
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_The extensive vestibules and foyers contain marble columns and arches, elaborate-designed ceilings, and mosaic floors. Large cloakrooms and booking offices are provided, and a novelty in the way of a hairdresser's shop, with every requisite for gentlemen changing into evening dress or the purchase of necessary articles of attire. A large ladies' boudoir is also provided, with reading and writing requisites, and hairdressing rooms, lavatory accommodation in conjunction.
Right - A Variety Programme for the 31st of December 1928 at The London Palladium, directed by George Black.
White marble staircases lead down to the stalls and up to the grand circle, the latter staircase being continued up to the grand saloon and palm gardens adjoining, and which occupies nearly the whole of the first floor. In the palm-garden is a kiosk for a small string band, which will discourse music during the evening.
The immense auditorium is a two-tier theatre, the width from wall to wall being 100ft, and the depth about 90ft. The ground floor contains stalls, formed with a fine rake, and the floor is covered with Wilton carpet and furnished with comfortable tip-up chairs. The walls are covered with faïence work, and the ceilings decorated.
Left - The Auditorium of the London Palladium as envisioned in 1910 - From the Building News, 23rd of December 1910.
The grand circle contains twelve rows of seats, divided into blocks by wide passages. Over this is the fine gallery, containing thirteen rows, and divided into blocks similar to the grand circle, furnished with comfortable divided seats, with floor coverings, and tastefully-decorated walls and ceilings; there are no less than five exits from this part, all leading into three streets.
The whole building will accommodate an audience of over 4,000. On each side of the large proscenium there will be a very novel group of private boxes, flanked with marble columns, and divided in the centre by an ingenious provision for projectors which will throw the light direct on to the artist from the front, instead of the side, as is usual. A large cinematograph room is constructed of fireproof material and placed at the rear of the gallery.
The box facades are eight in number, and contain lounges and retiring-rooms in conjunction with the same. The sanitary and ventilation schemes are on the latest and most up-to-date principles.
A large sliding-roof is provided in the auditorium; but not in the usual position, it being deemed advisable, both in case of fire and for ventilating purposes, that it should be placed immediately over the proscenium. The whole building is fireproof, as required by the County Council, even down to the draperies.
The grand circle and gallery are constructed on the cantilever principle, the architects' patent curved girder, so successfully used at the London Coliseum and their other important buildings, being adopted. The decorations and furnishing are on a scale of magnificence that has not before been attempted in theatre designs.
Above - The auditorium of the London Palladium in 1949 - From the Moss Empires Jubilee Brochure of 1949.
The prevailing tints of the decorations are white, cream, and coral, and the draperies of the boxes and stage - tableaux curtains a rich gold and apple-green; these colours are carried into the carpet and seating and throughout the auditorium.
Right - The auditorium of the London Palladium in a photograph taken in May 2011 - Courtesy Philip Marshall.
The stage is 90ft., wide and 45ft. in depth, and is fitted with the usual traps, bridge, etc., and furnished with flies, grids, etc., with special working of stage machinery. A scene dock and property store is formed in conjunction, also a large electric light engine-house, to supply the electricity direct. The whole of the building, including entrance, auditorium, stage, and dressing-rooms, is provided with a complete up-to-date system of heating; in fact, the comfort, etc., of the audience and artistes has been studied in every way.'
The above text in quotes was first published in the Building News, 23rd of December 1910.
Above - A 1970s Seating Plan for the London Palladium.
From the beginning The London Palladium was a Variety House where all manner of shows were put on including Music Hall, Melodrama, Farce, Operetta, and of course Variety, and everyone who was anyone played there.
Charles Gulliver took over in 1912 and ran the Theatre hard by putting on twice nightly shows and three matinees a week.
Right - A photograph of Charles Gulliver standing outside the London Palladium during the production of 'Sky High' in 1925, And Above Right - A flyer for the London Palladium under Charles Gulliver's management - Courtesy Chris Woodward.
Left - A variety programme for the week commencing 8th October 1917 at the London Palladium during Charles Gulliver's management.
1922 saw the very successful 'Rockets' which ran for 490 performances (See brochure below), followed by 'Whirl of the World' in 1923 which ran for 627.
Then there was 'Sky High' in 1925, which ran for 309 performance (see photograph above), and 'Folies Bergeres,' 'Palladium Pleasures of Life,' in 1926, and 'The Apache,' in 1927, all of them successful.
Above - The cover of a brochure for 'Rockets' at the London Palladium in 1922 - Courtesy Chris Woodward.
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_In 1928 The Theatre was bought by The General Theatre Corporation and remarkably they turned it into a Cinema, but this was a dismal failure and only lasted three months.
Right - A Twice Daily variety programme for the London Palladium during the General Theatre Corporation's ownership. And - The auditorium of the London Palladium in a photograph taken in May 2011 - Courtesy Philip Marshall.
George Black took over the running of the Theatre shortly afterwards and his own style of spectacular Variety Shows was extremely successful.
Left - A Programme for a Special Gala All Star Variety Matinee at the London Palladium on January the 17th 1940 - Courtesy Philip Paine. The show was produced in aid of the Daily Sketch War Relief Fund and starred many well known Variety acts including Max Miller, and Flanagan and Allen amongst others.
It was George black who started a new kind of entertainment at the Palladium called 'Crazy Week' which eventually became the 'Crazy Gang Shows,' with titles such as 'Life Begins at Oxford Circus,' 'Round About Regent Street,' 'All Night at Oxford Circus,' 'London Rhapsody,' and 'These Foolish Things.' The Crazy Gang were so successful that they later had a home of their own and ran for years at the Victoria Palace Theatre.
Above - An early Wooden Seating Plan for the London Palladium, now restored and situated in the Theatre's former 'Donkey Run' - Courtesy Piers Caunter.
Pantomime was a regular feature at the London Palladium for many years, and the Pantomime 'Peter Pan' became so popular that it was a fixture at Christmas at the Theatre every year from 1930 to 1938.
Right - The original Moss Empires letter box from the London Palladium now displayed safely inside the Theatre - Courtesy Philip Marshall.
When George Black died in 1946 Val Parnell took over the running of the Palladium when it also became owned by Moss Empires.
Left - A programme cover for a Variety Show at The London Palladium on the 19th of November 1951 during the Theatre's ownership by Moss Empires - Courtesy Martin Clark.
The George Black style continued under Val Parnell until 1948 when he tried his hand at Variety for the Theatre again, and with spectacular success.
Above - A Programme for one of Val Parnell's Twice Nightly London Palladium Variety Shows for the 12th of October 1949 - Courtesy Martin Clark. On the Bill for the first half were Annel & Brask, Johnny Lockwood, Two Berty Borrest, Reg Dixon, The Stevil Sisters, and The Delta Rhythm Boys. The Intermission was enhanced by the Skyrocket's Orchestra playing 'Tortilla' under the direction of Woolf Philips, and then the show continued with an all star second half with Jose Moreno, Peter Sellers, and Gracie Fields.
Sunday Night at the London Palladium
And of course, who can forget television's 'Sunday Night at The London Palladium', a variety show produced by Val Parnell as the main attraction for the debut weekend of ATV, first airing on the 25th of September 1955, and hosted by Tommy Trinder, who had been a much loved regular at the Palladium since 1941 with his 'Gangway' review shows. Stars to perform on the first Sunday Night at the London Palladium show included Gracie Fields and Guy Mitchell.
Sunday Night at the London Palladium was an immediate success, a regular 'must see' for just about everyone in Britain on a Sunday night from 1955 to 1967, and again from 1973-1974, produced by Val Parnell, and later with his son Jack Parnell leading the orchestra.
Right - A Bust of Bruce Forsyth, host of 'Sunday Night at the London Palladium' for many years, which has been situated in the Cinderella Bar of the London Palladium since 2005 - Courtesy Piers Caunter.
Tommy Trinder hosted the show from 1955 to 1958 and then Bruce Forsyth was tried out for a four week run which quickly made him a star and boosted the Sunday night audience to over 14 million, ensuring Forsyth would remain as the much loved host of the show for many years on and off.
Left - The Cinderella Bar at the London Palladium with the bust of Bruce Forsyth on display in October 2017 - Courtesy Piers Caunter.
Other well known showbiz names to host the show, sometimes as guest hosts, included Don Arrol, Norman Vaughan, Jimmy Tarbuck, Jim Dale, Ted Rogers, Hughie Green, Alfred Marks, Robert Morley, Arthur Haynes, Dickie Henderson, Dave Allen, Des O'Connor, Bob Monkhouse and Roger Moore.
The Tiller Girls on Sunday Night at the London Palladium in 1960.
With its famous Tiiller Girls, Forsyth's game show segment 'Beat the Clock, its revolving stage curtain calls, and its host of top name stars every week, Sunday Night at the London Palladium was the biggest show on Television for many years.
Sunday Night at the London Palladium (1960) Beat the Clock.
In January 1960 the show reached its largest audience ever when Cliff Richard and the Shadows headlined the show hosted by Bruce Forsyth, reaching a staggering 20 million viewers, all watching live, there was no catch up TV back then, and TV Company's could only dream of reaching such a large audience today.
The original show ended on ATV in 1967 but returned from 1973 to 1974, and then again under the new name of 'Tonight at the London Palladium' on ITV in 2000, and yet again from 2014 to 2015 as 'Sunday Night at the Palladium'. In 2016 the show returned again as 'Tonight at the London Palladium' hosted by Bradley Walsh.
Above - A commemoration of Bruce Forsyth, 1928 - 2017, whose ashes were interred in the substage of the London Palladium in August 2018 by his wife Wilnelia, and children Debbie, Julie, Laura, Charlotte, Louisa, and JJ - Photo Courtesy Piers Caunter.
The late TV designer Richard Greenough detailed some of the work involved with the Sunday Night at the Palladium shows in a document about his work kindly sent to me recently by Roger Fox who had been gifted the document by Greenough himself. In it Greenough says:- 'Then at 8 p.m. we produced the first "Sunday Night at the Palladium", one hour live, which was to run with some breaks until 3rd December 1967. This is the show for which we are now most remembered at this period.
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_The Palladium, designed by Frank Matcham and opened in 1910, always had a show running, so after the Saturday evening show the set would have to be struck, then overnight our scenery was brought in, cloths hung etc. Then on Sunday morning the sets for each act would be set and lit. The artists had a band call. In the afternoon, there was a camera rehearsal and then the show was transmitted live at 8 p.m.
Right - The auditorium of the London Palladium in a photograph taken in May 2011 - Courtesy Philip Marshall.
Val Parnell, who was co-managing director of ATV with Lew Grade, and executive producer of this show, sat with his secretary, Winnie Wood, about two thirds back in the stalls with a television monitor. Charles Henry, Val Parnell's chief of productions for Moss Empires, sat about one third back in the stalls with another television monitor. Here would sit the choreographer and the designer. ATV's director would be in the mobile control unit in the street at the back of the theatre. Jack Matthews was the Palladium's stage manager. During the camera rehearsal, if Val Parnell had any comments, these would be passed to Charles Henry who would relay them to the ATV director.
Above - The Artists and Crew for 'Sunday Night at the London Palladium' - Courtesy Richard Greenough and Roger Fox.
Charles Henry had a very dead-pan face and a wicked sense of humour. In one show, there was a chimpanzee set. He called the make-up artist to him and told her that Mr. Parnell thought their faces were not very clear and that they should be made up, so would she do one and bring it for Mr. Parnell's approval. While she was doing this, Mr. Parnell was let into the joke and he reacted suitably when the poor animal was brought to him.
Charles Henry also produced and directed a number of Crazy Gang shows at the Victoria Palace. I was told that in one of them there were six greyhounds. He called the woman in charge of them to him and asked if they had been fireproofed. When she showed surprise, he said everything on the stage had to be fireproofed, so go away and get them done. After a few days, she came back and said no one knew how to do it. "Well," he said. "You give them Bob Martin's Fire Proof Powder!"
Above - 'Sunday Night at the Palladium' - Liberace - Designed by Richard Greenough - Courtesy Richard Greenough and Roger Fox.
The Palladium was run on very strict lines and with great discipline and everyone was very professional but we had great fun and it was a very happy show. We continued to do Sunday Night at the Palladium until the 3rd December 1967. Towards the end of this period there were a number of bomb hoaxes and so the show had to be video recorded at 6 p.m. to 7 p.m. and then transmitted at 8 p.m.
Every year there was a break from the end of June to the beginning of September, when, in 1956 and 1957, we did the Sunday night show from The Pavillion Theatre, Blackpool. The stage had a proscenium 31 feet six inches wide, the stage depth 38 feet and wall to wall 66 feet wide. The stage has now been blocked off from the auditorium and is the kitchen for an adjoining restaurant. From 1958 to 1961, from the Prince of Wales Theatre, London and from 1962 to 1967 the gap was filled with various shows. In the last two years, the gaps were more frequent, as it had become more difficult to find top line artitsts, many of whom had been American stars.
The show was divided into three parts. The central section was filled with the game "Beat the Clock". The first compère was Tommy Trinder. After him came, among others, Norman Vaughan, Jimmy Tarbuck and Bruce Forsyth.
Above - A plan of the Stage of the London Palladium with its three ringed revolve during the 'Sunday Night at the Palladium' period - Courtesy Richard Greenough and Roger Fox.
The Palladium stage has a proscenium width of 45 feet and a total stage depth of 40 feet. It was fitted with a revolve 32 feet in diameter with an outer ring 7 feet wide and an inner 18 feet feet in diameter with, keyed into it, a centre table 12 feet in diameter which could rise 5 feet above the stage and sink 6 feet 5 inches below. The inner and outer revolved independently, either together or in opposite directions. The outer ring was always used if possible for the finale when the cast held a letter each, spelling out SUNDAY NIGHT AT THE PALLADIUM. By 2002 the revolve, installed in the early 1930s, had not been used for many years and was removed to make room to fly the car in "Chitty Chitty Bang Bang". (See report in Association of British Theatre Technicians [ABTT] UPDATE, SUMMER 2002).'
The above text in quotes (edited) is from a document written by Richard Greenough on his work as a television designer in the 1950s and 60s kindly sent in for inclusion on this site by Roger Fox.
Backstage at the London Palladium
Above - The Other Side of the Footlights - Backstage at the Famous London Palladium - From a Souvenir programme for 'To See Such Fun' at the London Palladium in 1971 - Courtesy Martin Clark.
In 1971 a Souvenir programme for 'To See Such Fun' at the London Palladium, carried a double page spread entitled 'The Other Side of the Footlights - Backstage at the Famous London Palladium'. The show starred Tommy Cooper, Clive Dunn, Anita Harris, Russ Conway, The Stupids, Francis & Rita Szony, the Bel Canto Singers, Robin Hunter and Dorothy Dampier, and the London Palladium Dancers. I have transcribed and edited the text from the Backstage article below, along with its many images of backstage areas of the London Palladium in the 1970s by Dave Grimley.
Right - A Souvenir programme for 'To See Such Fun' at the London Palladium in 1971 - Courtesy Martin Clark. The show starred Tommy Cooper, Clive Dunn, Anita Harris, Russ Conway, The Stupids, Francis & Rita Szony, the Bel Canto Singers, Robin Hunter and Dorothy Dampier, and the London Palladium Dancers.
NOW firmly established as the Ace Theatre of the World, the famous London Palladium occupies the site of what was once the town residence of the Duke of Argyll (hence Argyll Street) which adjoined the town residence of the Duke of Marlborough (hence Great Marlborough Street) where the stage-door is situated. All that remains of the old building, which was later taken over by the Earl of Aberdeen, is a "crinoline staircase" leading from street-level to the manager's office and other Palladium offices next door to the present spacious Booking Hall, which is the most up-to-date in the country...
Above: The Palladium Box Office - probably one of the largest theatre box offices in the world.
...The original old building was pulled down [in 1867] and a hall known as the Corinthian Bazaar erected on the site. After further reconstruction the building housed the famous Hengler's Circus, and the present safety-curtain (which is lowered and raised in the presence of each audience) shows the building as it was in those days...
Above - The Safety Curtain at the London Palladium in November 2017 - Courtesy Piers Caunter, which shows an image of the former Hengler's Circus previously on the site of the London Palladium.
Above - The man responsible for the co-ordination of all the Palladium back-stage staff - stage director, Tommy Hayes, seen here in the prompt corner, which is on the right hand side of the stage, seen from the Auditorium.
...In [1895] this was converted into an ice-skating rink known as the National Skating Palace, and in 1909 Mr. (later Sir) Walter Gibbons acquired the premises, and opened after further rebuilding, the London Palladium Music Hall in December 1909.
This is, very briefly, a short history of this world-famous theatre. Since its early days, all the great music-hall names have appeared here.
It is not generally known that we have two artesian wells beneath the theatre, from which water for domestic purposes is obtained from a depth of 420 feet, independent of the mains water supply. There are 20 dressing rooms, six of which can be converted into suites of two adjoining rooms when required...
Above - What at first appears to be an organ keyboard. is, in fact, a complex network of keys which comprise the Lighting Console. From here the operator can effect literally hundreds of stage lighting changes.
...Recently an entirely new lighting and sound equipment system was installed at a cost of £100,000, which makes the Palladium the finest and most completely equipped theatre in Europe and also provides full facilities for colour television...
Above - The Sound Console which controls the volume of the numerous loud-speakers and microphones used on the stage.
...A staff of over 250 people is regularly employed at the London Palladium including attendants, clerical and stage staff, electricians and wardrobe staff, etc. . . . many of whom have been at this theatre for many years. Their experience ensures the very best possible service and efficiency at this, the world's most famous theatre.
Above - The famous London Palladium as seen by the performers - a star's-eye view of the auditorium.
![The Palladium "lift" in the centre of the stage. On the outside of this is the famous "revolve" used in ATV's Palladium Show.](http://www.arthurlloyd.co.uk/LondonPalladium/BackstageArticle/Backstage8.jpg "The Palladium "lift" in the centre of the stage. On the outside of this is the famous "revolve" used in ATV's Palladium Show.")
Above - The Palladium "lift" in the centre of the stage. On the outside of this is the famous "revolve" used in ATV's Palladium Show.
The above Article (Edited) and most of its accompanying images are from a Souvenir programme for 'To See Such Fun' at the London Palladium in 1971. The original article photographs were by Dave Grimley - Programme Courtesy Martin Clark.
The Royal Variety Shows and Later History
The London Palladium is also famous for hosting the annual Royal Variety Performance, although it has actually been held at many different Theatres over the years.
Right - A Ticket for the Royal Variety Performance at the London Palladium on November the 26th 1973 - Courtesy Martin Clark. The show that year was hosted by Dick Emery and included Dougie Squires' Second Generation, Dick Emery, Francis Van Dyke, Cliff Richard, Phillipe Genty & Company, Les Dawson, Rudolf Nureyev, Lynn Seymour, José Luis Moreno, Peters & Lee, Ronnie Corbett, and Duke Ellington & His Orchestra.
The first Royal Variety Performance was actually staged at the Palace Theatre, London on the 1st of July 1912. The London Palladium hosted its first Royal Variety Performance on May the 22nd 1930, and then went on to stage it every year until 1938 when it was held at the London Coliseum. The Palladium has of course played host to the Royal Variety Performance on many occasions since then and despite the other Theatres that have also hosted it over the years it's still the Palladium that is recognised as its true home. You can find details of all the Royal Variety Performances from 1912 to the present day here.
Above - The finale of the 1948 Royal Variety Performance at the London Palladium - From the Moss Empires Jubilee Brochure of 1949.
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_In the 1980s the Palladium became home to a string of successful large scale musicals, such as 'The King and I' with Virginia McKenna and Yul Brynner, 'Barnum' with Michael Crawford, 'Singing in the Rain' with Tommy Steele, and much less successfully, the huge and lavish 'Ziegfield' which couldn't be saved even by Topol himself.
Right - The Entrance Foyer at the London Palladium in a photograph taken in May 2011 - Courtesy Philip Marshall.
Later there was 'Show Boat' 'Saturday Night Fever,' and 'Chitty Chitty Bang Bang' which was such a large production that the famous split Revolve at the Palladium was finally removed and scrapped, although a number of pieces were retained at the Theatre including a section of track and a running wheel. When the revolve was removed the central section of the stage was then replaced with a demountable Steeldeck style stage. Interestingly the revolve which was used for the production of 'Sister Act' which opened in 2009 closely resembled the original but was only a temporary structure designed to be removed at the end of the production.
Above - The London Palladium on the night of the first preview of the revival of the 1975 production of 'A Chorus Line' on the 5th of February 2013 - Photo M.L.
In February 2013 the Palladium became home to the revival of Broadway's smash hit of 1975, 'A Chorus Line'. I saw the Broadway cast in the show myself when it was produced at the Theatre Royal, Drury Lane, in July 1976.
The revival, which I also saw, on its first preview at the London Palladium on the 5th of February 2013, was an almost exact recreation of the original and well worth seeing, whether you saw the original production or not.
Right - A Programme for the London Palladium production of 'A Chorus Line' in February 2013, and a Programme for the Drury Lane production of 'A Chorus Line' in July 1976 - Courtesy Linda Chadwick.
In March 2020 the London Palladium was forced to close down completely due to the Coronavirus Pandemic which had rapidly swept across the world since its presumed origination in China the previous year. All Theatres across the UK, including the Palladium shut down in March and were still closed at the time of writing in late July 2020. However, the London Palladium was the first to open its doors when it staged a test performance on July the 23rd 2020. The show which featured an hour long set by Beverley Knight backed by a six piece band, was designed to see if Theatres could open with Social Distancing measures in place. This meant that the Theatre's usual capacity of over 2,200 people was reduced to just over 600, and many other measures were put in place to try and ensure the audience were safe from the virus. However, the experiment seemed to prove that in reality Theatres would not be able to open again fully until the Government's Social Distancing rules were relaxed enough to allow bigger audiences into Theatres, and until audience, cast, and crew felt safe enough to return. A review of the event by Will Gompertz, Arts editor at the BBC, can be read here.
The London Palladium is currently owned and run by LW Theatres.
If you have any more information or images for this Theatre that you are willing to share please Contact me.
Some Photographs of the London Palladium
Above - The Entrance Foyer at the London Palladium in a photograph taken in May 2011 - Courtesy Philip Marshall.
Above - The Entrance Foyer at the London Palladium in a photograph taken in May 2011 - Courtesy Philip Marshall.
Above - The Staircase leading up to the Circle and Val Parnell bar at the London Palladium in a photograph taken in May 2011 - Courtesy Philip Marshall.
Above - The Val Parnell bar at the London Palladium in a photograph taken in May 2011 - Courtesy Philip Marshall.
Above - The 'Long Bar' of the London Palladium in September 2017 - Courtesy Piers Caunter.
Above - The 'Long Bar' of the London Palladium in September 2017 - Courtesy Piers Caunter.
Above - The auditorium and stage at the London Palladium in a photograph taken in May 2011 - Courtesy Philip Marshall.
Above - The London Palladium during the production of 'The Sound Of Music' in 2006.
Above - The London Palladium during the run of 'Sister Act' in July 2009 - Photo M.L.
Above - The London Palladium during the run of 'I Can't Sing' which opened at the Theatre on the 26th of March 2014 but was unsuccessful and closed on the 10th of May.
The London Palladium's 100th Anniversary
Above - Birthday cake celebrating 100 years of Great Entertainment at the London Palladium.
The London Palladium opened on Boxing Day, the 26th of December 1910, and so in December 2010 the Theatre celebrated its 100th anniversary.
Several events were held at the Theatre to mark this event, one of which was on the 12th of November in the Cinderella Bar of the Palladium when many people involved with the Theatre over the years gathered to toast the Palladium's anniversary and catch up with faces from the past.
Right - The London Palladium's Cinderella Bar shortly before guests arrived to celebrate the Theatre's 100th Birthday on the 12th of November 2010.
If you are interested in reading more about this World Famous Theatre see my recommended books section below.
Above - Andrew Lloyd Webber and Andre Ptaszynski, Owner and Chief Executive of LW Theatres make short speeches about the Palladium's history before toasting the Theatre's 100th anniversary - Photo courtesy Roger Fox, who is pictured below with Terry Powell.
Above - Roger Fox, Theatre Consultant and Chairman of the ABTT Historical Research Committee, and Terry Powell, assistant to the late Tod Kingman, designer of many memorable Palladium productions. Both of whom have been endlessly supportive of, and regular contributors to, this website.
Above - Introduced as the 'Tiller Girls' Jackie Simmonds, Rosalie Kirkman, Shirley Caught, June Vincent, & Rosemarie Russell cut the cake celebrating the London Palladium's 100th anniversary.
Recommended Books on the London Palladium
Live from the London Palladium by Neil Sean
Why the London Palladium? That was the question posed to me by a non-theatrical friend and like all of us in the business I simply answered "It’s the greatest variety theatre in the world."
My new book "Live from the London Palladium by the stars who appeared there" is simply a feast of glitter, glamour and gossip.
As an entertainment reporter now for Channel 10 ( Australia ), Fox News, and NBC news, plus so many more media adventures, this role allowed me to top up and interview the remaining greats of showbiz, from Palladium faves like Debbie Reynolds and Mickey Rooney, and also going back to my own audio archive when as a young boy I was allowed to interview variety greats like Larry Grayson, Les Dawson, Tommy Trinder, Sir Bruce, Marti Caine, Frank Carson, and Barry Manilow, all on my trusty Dansette tape recorder with a C60 cassette... Remember you had to turn it over after 30 minutes to continue.
The book has over 100 Palladium stars and looking back and watching, listening to the stars talk, is amazing... More so when you think I was just a kid asking all these celebrated stars about their careers and what it takes to become a legend... So if you want to really know why the London Palladium is so special this really is the book for you.
I recall Larry Grayson really hit a point when he told me "It was the culmination of all the hard work... I think, looking back I went on like in a trance you know, because in your head you have dreamed it and actually done it, but yes nothing like the real thing at all really... It was magical."
Pictured together in the number one dressing room at the Palladium is the one and only Dad’s Army star Ian Lavender who was starring in the hit musical "Sister Act" at the time of the interview, he tells me "I was not so sure about doing the musical to be honest but then they said the magic words "It’s on at the Palladium", well truly after that I was in, it was that simple for me, and yes to be sitting here and looking out at that vast auditorium and thinking all the greats have looked and felt like me nightly on this stage... I was sold... Now I can’t wait to come back."
As ever any project ends up been tinged with sadness and in this case it’s one of the greatest comedians of our time Miss Joan Rivers (shown above). I spoke with Joan for the last time a week before her sudden death and as well as revealing her time on that Palladium stage she spoke candidly about the wears and tears of a comic's life...
But as ever the Palladium is built on laughter so take a seat in the stalls and let the Skyrockets Orchestra sway over you while. Val Parnell presented another of his spectaculars... Sit back and let those famous red velvet curtains swish open to you enjoying "Live from the London Palladium" with a bill that also includes Tommy Steele, Max Bygraves, Liza, Kylie, Anita Harris and many more - all brand new unheard interviews from my personal archive. - Neil Sean 2014.
Click here to Buy the book on Amazon.co.uk.
The London Palladium - The Story of the Theatre and its Stars
by Chris Woodward
Readers of this page who have an interest in the history of the London Palladium would be well advised to look at Chris Woodward's wonderful book on the Theatre; 'The London Palladium - The Story of the Theatre and its Stars.'
The book chronicles the history of the site of the London Palladium from its earliest days when Argyll street was first developed in the 1730s and a large house was built for Archibald Campbell, the 3rd Duke of Argyll, through to its days as the Corinthian Bazaar, parts of which still survive in the present building; and Hengler's Circus, of which I have never seen so many wonderful programmes and images depicted all in one place, and with such lovingly researched history of this once famous Arena. After detailing the history of the site Chris's book goes on to tell the story of what is probably Britain's most cherished Theatre, Frank Matcham's wonderful London Palladium, from its opening on Boxing day 1910, through its career as a Music Hall and Variety Theatre, it's days as a television star for Sunday Night at the London Palladium, its Sunday concerts and long running musicals, right up to the present day, and all in such meticulously researched detail. The book is copiously illustrated with an image for almost everything the Palladium has staged over its hundred year history. An absolute must buy for anyone who has graced its stage, sat in the audience, seen it on Television, or simply walked past its facade and wondered to themselves 'what kind of a story can such a magnificent building tell.' Click here to buy the book at Amazon.co.uk.
Adelphi Aldwych Ambassadors Apollo Apollo Victoria Arts Cambridge Charing Cross Theatre Criterion Dominion Donmar Warehouse Drury Lane Duchess Duke Of Yorks Fortune Garrick Gielgud Gillian Lynne Harold Pinter Haymarket His Majesty's Leicester Square Theatre London Coliseum London Palladium Lyceum Lyric Menier Chocolate Factory Noel Coward Novello Old Vic Palace Peacock Phoenix Piccadilly Playhouse Prince Edward Prince of Wales Royal Opera House Sadler's Wells Theatre Savoy Shaftesbury Sondheim St. Martin's Trafalgar Theatre Vaudeville Victoria Palace Wyndham's