Address: King Street, London. For a current map,
Click Here. For historical maps showing the venue (in addition to those excerpted at right), Click Here and Here.
Alternate Names: Prince’s Theatre; Theatre Royal, St. James’s; The Royal St. James’s
Capacity: Diana Howard notes that the St. James’s could accommodate approximately 1,200 people following its 1879 renovations, and between 950 and 1100 following the reconstruction of the theatre in 1900 (210-211). The specific capacity of the house that was operative during the years covered by this database, however, has not yet been located.
Performance Space Description: Several contemporary accounts describe the beauty and elegance of this venue. A piece in the 1844 edition of Mogg’s New Picture of London, for instance, notes that the interior of the theatre, “which consists of two rows of boxes, a gallery, and pit, is sumptuously and elegantly decorated” (reproduced in the Dictionary of Victorian London Online). Similarly, the following description ran in The Times the day after the theatre first opened in 1835: "Much has been said in approbation of the form, and in praise of the decoration, of the theatre. These laudatory avant-courriers are rarely to be depended on as the heralds of truth; but in this instance they have rather fallen short of than gone beyond the fact [sic]. This theatre is indeed a beautiful structure, and as unique as it is beautiful. The audience part of the house inclines very slightly, almost imperceptibly, to the horse-shoe form. The prevailing colour is a delicate French white. A series of arches, supporting the roof, and sustained by Caryatides, runs entirely round the upper part of the theatre. The effect is novel and very pleasing. The chandelier is a most striking object. It is formed of gilt copper, and is elaborately carved. It is for splendour of appearance, and curious elegance of design, the handsomest thing of the kind that we have ever seen. It throws forth an immense flood of light, and, aided by the girandoles which are placed round the dress circle, creates a mimic day. To the architect, Mr. Beazley, much praise is due; and the decorator (Frederick Crace and Son of Wigmore Street), who has, to a nicety in every point, imitated the gay yet splendid style of the age of Louis Quatorze, must not be passed by without high eulogium. He has executed his task with extraordinary ability, and he deserves the highest commendation. The tout ensemble of the house is light and brilliant. It looks like a fairy palace. Then, the two great points which are most important to the comfort of an audience-hearing and seeing-have been sedulously consulted; and, with reference to them, we think that the new theatre takes the lead of all its brethren." (reproduced on the Arthur Lloyd Site).
Typical Fare: Between 1842 and 1852, the St. James’s offered dramatic performances of all types. That said, it was particularly known as a home for foreign dramatic troupes, and was especially noted, as a writer for Chruchley’s London in 1865 put it, for performances by “an admirable French company” (reproduced in the Dictionary of Victorian London Online). Mogg’s New Picture of London suggests that operatic performances were also common at the theatre during the early 1840s (ibid).
Performance History
Samuel Beazley designed the St. James’s in 1835, at the request of the renowned vocalist John Braham. All told, the theatre cost more than 18,000 pounds of Braham’s money to complete. It opened on December 14, 1835 with two farces and a burletta.
The venue survived throughout the remainder of the 19th century and into the 20th, receiving sporadic renovations and refurbishments along the way.
In 1957, the theatre was closed in order to make way for an office building. Vivien Leigh soon initiated a campaign to save the St. James’s (and Winston Churchill himself donated 500 pounds to the cause), but these efforts were to no avail. The building was demolished by the end of the year.
Please see the 'Bibliographic Sources' link at right for a complete listing of materials (both primary and secondary) from which the above information was compiled.
The Howard text (cited above) also contains an extensive listing of relevant contemporary and historical sources pertaining to the theatre.
Additional resources (which have not yet been accessed, include:
Duncan, Barry. The St. James Theatre: its strange and complete history. 1835-1957. London: Barrie and Rockliff, 1964.
Mander, Raymond and Joe Mitchenson. The Lost Theatres of London. London: Hart-Davis, 1968.
