Lyric Theatre
The Concise Oxford Companion to the Theatre
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1996
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© The Concise Oxford Companion to the Theatre 1996, originally published by Oxford University Press 1996. (Hide copyright information)
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Lyric Theatre, Hammersmith, West London, in King Street, opened as the Lyric Hall in 1888. It was reconstructed and reopened as the Lyric Opera House in 1890, rebuilt in 1895, its seating capacity being increased from 550 to 800, and further improved in 1899. The home of a resident
stock company, it drew a large local audience to its
melodramas and annual
pantomime, but its fortunes declined and it housed mainly touring companies until in 1918 it was taken over by Nigel Playfair. He redecorated it, renamed it the Lyric Theatre, and made it prosperous and fashionable, drawing large audiences from the West End. The opening production was A. A. Milne's
Make-Believe; in 1919
Drinkwater's chronicle play
Abraham Lincoln, brought from the
Birmingham Repertory Theatre for two weeks, began a run of 466 performances. A notable revival of
Gay's The Beggar's Opera, with décor by Lovat
Fraser, opened in 1920 and ran for 1,463 performances. Edith
Evans was a fine Millamant in
Congreve's The Way of the World (1924) and returned as Mrs Sullen in
Farquhar's The Beaux' Stratagem (1927). In between Ellen
Terry made her last appearance on the stage, in De la Mare's
Crossings, and there was a notable revival of
Chekhov's The Cherry Orchard with
Gielgud as Trofimov (both 1925). A number of new light operas were staged, including A. P. Herbert's
Riverside Nights, and in 1930
Wilde's The Importance of Being Earnest was seen in a black-and-white décor. Playfair left in 1933, after which the theatre was used only intermittently, but in 1946 it achieved success with a production by Peter
Brook of Dostoevsky's
The Brothers Karamazov starring Alec
Guinness. A number of new plays and revivals were then staged, several of which were transferred to the West End, among them
Cocteau's The Eagle has Two Heads (also 1946),
Vanbrugh's The Relapse (1947), Arthur
Miller's All My Sons, and
Sartre's Crime passionel (both 1948). Gielgud ran a successful repertory season, 1952–3, directing Paul
Scofield in Richard II and appearing himself. Later productions were
Anouilh's The Lark (1955) with Dorothy
Tutin as Joan of Arc; the revue
Share My Lettuce (1957), in which Maggie
Smith made her London début;
Pinter's first full-length play
The Birthday Party (1958); and in 1959
Büchner's Danton's Death and
Ibsen's Brand.
A period of stagnation then set in and the theatre finally closed in 1966. It was demolished in 1972, but plaster castings of the original Victorian interior were taken. A new theatre 20 yards away, seating 540, with the original interior, opened in 1979 with Shaw's
You Never Can Tell. Its many West End transfers included Michael
Frayn's Make and Break (1980) and
Noises Off (1982) and
García Lorca's The House of Bernarda Alba (1986). The small studio theatre seating 130 houses small touring companies and stages rarely performed work.
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