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waterfall effects, were supplied with water from the New River alongside the theatre. The historian
Shirley S. Allen writes that such was the remarkable realism in the performance of sea stories that Sadler's Wells became for thirty years the home of the "nautical drama". Grimaldi, by the early 19th century established as "the unchallenged king of clowns", continued as the theatre's principal clown until 1820, while pursuing a parallel career at Drury Lane.
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mass of incomprehensible vagabonds" – but after his death in 1743 John Warren took over, and standards fell again, to the extent that the authorities closed the place. The lease was acquired by Thomas
Rosoman and Peter Hough, who reopened Sadler's Wells in April 1746. According to Arundell they "thereby started twenty years' prosperity for the old wooden theatre". Rosoman substantially reconstructed the wooden building in 1748–49.
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1066:. It opened in October 1998 with a design that incorporates the skeleton of the 1931 Chancellor theatre (which itself contained bricks from the Victorian structure). It has an expanded 15 m sprung stage, a 1,500-seat auditorium, three rehearsal studios and the smaller 200-seat Lilian Baylis studio theatre for the development and presentation of small-scale work. The current building retains the
345:– and Sadler started marketing the water from his wells. Visitors to the Musick-House began to drink it, and many London physicians recommended their patients to do so. By the end of the summer of 1685 five or six hundred people frequented the Musick-House every morning for the water. Sadler laid out ornamental gardens and engaged entertainers to amuse his patrons: there were tumblers,
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Arundell conjectures that by 1697 Sadler had either died or retired; Forcer went into partnership with a glover, James Miles, and the wooden auditorium was renamed "Miles's Musick-House". Under their management the public could hear ballad singers and see jugglers, wrestlers, fighters, dancing dogs and, according to the theatre's 21st-century historian, "even a singing duck".
446:. This suited both theatres, as at that time Sadler's Wells customarily opened from late spring to early autumn and the patent theatres were open for the other half of the year. Arundell comments that this engagement added to the prestige of Sadler's Wells "and ultimately benefited the place enormously, for the new Ballet Master was Giuseppe Grimaldi". (Grimaldi's son,
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Bateman hoped to restore the theatre's reputation as a classical playhouse, as in Phelps's time, but she died in 1881. The historian Philip Temple quotes an earlier writer's comment that despite
Bateman's improvements, "in the 1880s the Saturday night gallery contained the most villainous, desperate,
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to design a new interior for the theatre, which reopened in
October 1879. Phipps remodelled the auditorium, with a stronger horseshoe profile for the front of the dress circle and the gallery above. These extended further toward the stage than the previous circle and gallery, increasing the theatre's
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The current theatre dates from 1998. It consists of two performance spaces: a 1,500-seat main auditorium and the Lilian Baylis Studio, with extensive rehearsal rooms and technical facilities also housed within the site. Sadler's Wells is now chiefly known as a dance venue. As well as hosting visiting
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were permitted to present non-musical dramas. Sadler's Wells and other theatres were obliged by the Minor
Theatres Act (1751) to avoid spoken dialogue. To circumvent this rule, theatre managers had their actors speaking against a continuous background of instrumental music, so that it was passed off
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Miles died in 1724, and under Forcer's son the auditorium was "entirely new modelled and made every way more commodious than heretofore for the better reception of company". Forcer junior sought to improve standards – according to one historian he "succeeded, to a great degree," in driving away "the
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the government requisitioned Sadler's Wells as a refuge for those made homeless by air-raids. The two companies toured for the duration of the war. When the theatre reopened in 1945 the companies were briefly reunited there, but de Valois objected to
Guthrie's treatment of her company as the junior
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The main company became the Royal Ballet in 1956. In 1957 the Sadler's Wells company was renamed the Royal Ballet
Touring Company, and in 1976 it became Sadler's Wells Royal Ballet. In 1990 the company left Sadler's Wells and moved to Birmingham as the Birmingham Royal Ballet, but has continued to
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For the first few years the opera, drama and ballet companies, known as the "Vic-Wells" companies, moved between the Old Vic and Sadler's Wells but by 1935 the established pattern was drama at the former and opera and ballet at the latter. In 1935 both the opera and ballet companies went on summer
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he was Edward. It is also uncertain when Sadler established his auditorium: many sources give the year as 1683; others give it as 1684 or 1685. According to
Arundell, Sadler had already opened his "Musick-House" at an unspecified date before 1683; a history of the house published in 1847 confines
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The initial popularity of Sadler's spa did not last long, and by 1691 it had ceased to be a fashionable resort. He sold two of his wells, and the original one dried up for a time; his entertainments became the main draw for those of the public still interested. There is no documentary proof, but
1196:, D'Oyly Carte's traditional London home, of a substantially larger seating capacity: 1,639 as against 1,138. The company gave sixteen seasons at the Savoy and other London theatres between 1938 and its closing in 1982, but it gave most of its London seasons at Sadler's Wells from 1935 onwards.
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Rosoman was a builder by trade, and he had the wooden theatre replaced with a brick structure. The new building was completed in seven weeks, and cost £4,225; it opened in April 1765. The new house was well received: a London newspaper reported, "Sadler's Wells is now rebuilt and considerably
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Sadler's Wells reopened in 1802 with an interior "entirely re-built at an immense
Expence". In 1804 it acquired a new attraction, dubbed the Aqua-show. A huge water tank was installed under the stage for the production of aquatic spectacles. This tank and a second, above the stage to provide
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In 1771 Rosoman retired. He sold his three-quarter share in the theatre to Thomas King, a friend and Drury Lane colleague of
Garrick. King took over the management from December 1771, and continued to offer entertainments of the traditional variety – tumblers, singers, acrobats and "Several
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managed and starred at the theatre. He intended to bring Shakespeare to the masses. Sadler's Wells at this stage had a largely local Islington audience, working class and relatively uneducated; economically the theatre had its advantages: a large capacity (2,500) and a low rent.
609:. His productions purged Shakespeare's texts of 18th-century alterations and additions, and he presented the plays with attention to period detail and dramatic veracity. The theatre began to attract audiences from beyond Islington, including literary figures such as
902:, hoped to relocate the company there. The plans fell through when the government declined to contribute to the capital cost of the proposed building, but Arlen remained convinced that Sadler's Wells was too small for productions of large-scale works such as
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to base her main ballet company at the reopened Covent Garden, opening there in 1946, leaving Sadler's Wells with a small company known as the Sadler's Wells Theatre Ballet. The previous year the theatre had hosted the world premiere of Benjamin Britten's
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reported, "The changes made are so remarkable that Sadler's Wells may now claim to be one of the largest and most conveniently-constructed London Theatres". By this time Islington was no longer an isolated village but an inner suburb of the capital, and
201:, and spectacular entertainments such as sea battles in a huge water tank on the stage. In the mid-19th century, when the law was changed to remove restrictions on staging drama, Sadler's Wells became celebrated for the seasons of plays by
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In the 1790s Dibdin was stage manager as well as composer, with Grimaldi as comic star. The theatre was by now in need of renovation, not least because of concerns about safety. The proprietors, led by William Siddons, husband of
767:, with cheap prices aimed at attracting a local, working-class audience. In 1925 she began a campaign to reopen the derelict Sadler's Wells on a similar basis. She raised the necessary funds and the new theatre was designed by
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Phelps believed that the theatre should be a "place for justly representing the works of our great dramatic poets", particularly since the leading London theatres were not presenting "the real drama of England". His biographer
450:, later became one of Sadler's Wells's star attractions.) Rosoman prospered and in the summer of 1764 he announced that Sadler's Wells would be pulled down at the end of the season and rebuilt "in a most elegant manner".
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as "a nursery of debauchery", and the place was frequented by many "unaccountable and disorderly" people. In 1712 a man called French was sentenced to death at the Old Bailey for killing a Mr Thwaits at Sadler's Wells.
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culture through performance and education." The theatre now claims to create and share more new work than any other dance organisation in the world. In the 2020s the theatre has been criticised for its sponsorship by
917:. Sadler's Wells turned to dance as its main focus. By the 1970s, the historian Sarah Crompton records, the dance programme of Sadler's Wells had diversified considerably. Among the companies appearing there were the
715:. In the early years of the 20th century the theatre doubled as a cinema, showing films on Sundays, with live shows – described as "cowboy melodramas" – during the week, but it did not prosper. The drama critic of
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Before the 20th century, the term "stage-manager" covered the artistic functions now ascribed to directors as well as the purely technical aspects of staging to which "stage-manager" has subsequently come to be
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surprising and pleasing Performances by Messrs Sigels, lately arrived from Paris". Although his own tastes favoured the dramatic, King catered for the tastes of his audiences, and in particular featured
329:. After an eminent physician tested the water and praised its supposed health-giving properties, Sadler found two more wells nearby. Taking the waters was fashionable at the time – there were popular
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enlarged; each of the entrances is decorated with an elegant iron gate and pallisades a degree of splendor and magnificence ... that do equal honour to the taste and liberality of the Proprietor".
1027:. Most of these productions were commercially recorded and released on LP and CD. After the sponsorship ended, costs outstripped income, and the opera company – though not the theatre – went into
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in his history of the theatre, its founder was called Dick Sadler. Many other sources, from the 18th century onwards, say the same, but others give Sadler the forename Thomas, and according to the
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The proprietors advertised for a new manager in 1700, but the decline continued. In 1711, after its fashionable clients had taken their trade elsewhere, Sadler's Wells was described in
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companies, the theatre is also a producing house, with associated artists and companies who create original works for the theatre. Sadler's Wells maintains an additional base at the
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In accordance with this policy Sadler's Wells has appointed an increasing number of choreographers and other associate artists and has commissioned and produced new work. In 2004
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remarked, "no part of London can be reached with greater facility, as omnibuses, trams, &c, from various directions pass the Angel, not two hundred yards from Sadler's Wells."
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So began one of the most glorious reigns of any London theatre, during which Phelps produced more than 1,600 performances of thirty-one of Shakespeare's plays (the exceptions were
194:. The present-day theatre is the sixth on the site. Sadler's Wells grew out of a late 17th-century pleasure garden and was opened as a theatre building in the 1680s.
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wrote in February 1914, "Poor wounded old playhouse! Here it stands even now, shabby and disconsolate, its once familiar frontage half hidden with glaring posters".
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series in 1736, the theatre had lost any vestiges of fashionability and was satirised as having an audience consisting of tradesmen and their pretentious wives.
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to improve the standard of dancing in operas and plays at the Old Vic. The three companies Baylis founded developed over the next three decades to become the
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632:, they made little impact. A succession of managements tried unsuccessfully to make the theatre pay; in 1874 it closed, and there were plans to turn it into
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636:. The building, by that time in a perilous state of repair, was used as a roller-skating rink and for lectures, boxing and wrestling, until in August 1878
1960:"Valois, Dame Ninette de (real name Edris Stannus; married name Edris Connell) (1898–2001), ballet dancer, choreographer, and founder of the Royal Ballet"
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You've got the National Theatre for drama, English National Opera for opera and I want Sadler's Wells to perform the same function for contemporary dance.
1038:, led a campaign to transform Sadler's Wells into a purpose-built dance theatre. During the two-year rebuilding, Sadler's Wells moved temporarily to the
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had London seasons at Sadler's Wells between 1954 and 1975. From 1959 to 1985 the theatre was the main venue for the annual seasons of the
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between 1844 and 1862. From then until the early 20th century the theatre had mixed fortunes, eventually becoming abandoned and derelict.
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led to the abandonment of the plan, and Sadler's Wells declined into dereliction. It closed in 1915 and did not reopen after the war.
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The other quarter was held by a goldsmith called Arnold, who appears to have taken no direct part in the running of the theatre.
808:. Acquiring Sadler's Wells enabled Baylis to set up a dance company, something she had wished to do since 1926 when she engaged
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A Biographical Dictionary of Actors, Actresses, Musicians, Dancers, Managers & Other Stage Personnel in London, 1660–1800
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952:(1972). In 1983 a new opera company was established, with its base at Sadler's Wells. With a four-year sponsorship from the
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and musicians. Sadler took as his business partner a violinist, Francis Forcer, who was both dancing-master and composer.
2055:, 12 February 1999, p. 35; and "Debra Craine's dance choice: Birmingham Royal Ballet", The Times, 1 September 2001, p. 122
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hatchet-faced assembly of ruffians to be found in all London". There were several attempts to convert the theatre into a
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opening of 55 feet (16.7 metres) – compared with Sadler's Wells's 30 feet (9.1 m) – was the largest in London.
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After Baylis died in 1937 the Vic-Wells Ballet was led by de Valois and the opera company was under the direction of
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After Phelps's withdrawal in 1862 the theatre presented a variety of shows, but despite appearances by stars such as
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as a musical entertainment. In general the authorities did not enforce the letter of the law with particular rigour.
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Rosoman engaged a regular resident company of actors, and the old Musick-House became a theatre. Rosoman introduced
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Lacking the requisite licence to perform straight drama, the house became known for dancing, performing animals,
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The Coliseum's seating capacity (2,500) was more than 40 per cent greater than that of Sadler's Wells, and the
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In the early years of the 18th century the reputation of the spa declined. By the time Hogarth produced his
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1422:"Victorian London – Publications – History – Views of the Pleasure Gardens of London, by H.A.Rogers, 1896"
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Carey, p. 105; Craine and Mackrell, p. 380; Jarman, p. 3; Rice, p. 67; Thomson, p. 128; and Urban, p. 798
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The D'Oyly Carte Opera Company in Gilbert and Sullivan Operas: A Record of Productions, 1875–1961
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The tank was 90 feet long, 25 feet wide, and 5 feet deep (approximately 27.5 x 7.5 x 1.5 metres).
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After the opera company moved out, Sadler's Wells hosted operatic productions by, among others,
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partner, more valued for financial than for artistic reasons. She accepted an invitation from
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in the West End, bought the unexpired thirty-three year term of the lease of Sadler's Wells.
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was performed there in 1764, but Arundell suggests it was not Shakespeare's original, but "
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itself to saying that the house was built at some time after the creation of the adjoining
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Carey, p. 105; Craine and Mackrell, p. 380; Jarman, p. 3; Rice, p. 67; and Urban, p. 798
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The law restricting non-musical drama to the two patent theatres was repealed by the
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and over the next twenty years the opera company gave British premieres of works by
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The new theatre opened with a gala performance on 6 January 1931 of Shakespeare's
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The only major changes to Phipps's building was the addition by the architect
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Press advertisement, 1802 – The patron, the Duke of Clarence, is the future
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A well with water from a mineral spring was discovered on Sadler's land in
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The new theatre was designed by the Arts Team division of the architects
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2819:. New Haven and London: Yale University Press and English Heritage.
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Survey of London: Volume XLVII: Northern Clerkenwell and Pentonville
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Details of the origins of Sadler's Wells are disputed. According to
2012:
Rollins and Witts, p. 2, and Supplements pp. 16–18, 25–29 and 37–39
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had run drama and opera companies at her south London theatre, the
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joined Sadler's Wells, "representing the origins and evolution of
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2596:. Vol. 5. Carbondale: Southern Illinois University Press.
913:, and in 1968 the company left Sadler's Wells and moved to the
216:
bought and rebuilt the theatre in 1926. Together with Baylis's
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The Quiet Showman: Sir David Webster and the Royal Opera House
2393:"Activists protest Sadler's Wells Theatre links with Barclays"
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staged productions there. Visiting dance troupes included the
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Grade II listed buildings in the London Borough of Islington
1751:"Grimaldi, Joseph (Joe) (1778–1837), actor and pantomimist"
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In the 1960s there were plans for a new opera house on the
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Gentleman's Magazine and Historical Chronicle 1784, part 2
2522:(fourteenth ed.). London: Sir Isaac Pitman and Sons.
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Highfill, Philip; Kalman Burnim; Edward Langhans (1973).
2479:
Duet for Two Voices: An Informal Biography of Edward Dent
382:
With prize-fighters, sweetners, and such sort of traders,
330:
2837:
The Cambridge Introduction to English Theatre, 1660–1900
2724:
Georgian Harlots and Whores: Fame, Fashion & Fortune
2537:
Opera for Everybody: The Story of English National Opera
2179:, 19 October 1989, p. 11; and "Romantic renaissance in
30:"Sadler's Wells" redirects here. For the racehorse, see
2781:. Northampton, Massachusetts: Edward Elgar Publishing.
1793:"Phelps, Samuel (1804–1878), actor and theatre manager"
1669:
2840:. Cambridge and New York: Cambridge University Press.
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Hembry, p. 99; Law, p. 443; and Pinks and Wood, p. 760
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With the support of leading theatre figures including
2692:(ninth ed.). London: Sir Isaac Pitman and Sons.
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Since 1914 the theatre proprietor and philanthropist
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Informers, thief-takers, deer stealers, and bullies.
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2503:(second ed.). Oxford: Oxford University Press.
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Other sources give Sadler the full forename Richard.
984:. Later productions included Gilbert and Sullivan's
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585:Among the leading players in Phelps's company were
1914:"Baylis, Lilian Mary (1874–1937), theatre manager"
1670:
956:, the New Sadler's Wells Opera company focused on
2671:Ways of the World: A History of the World's Roads
1046:, where it has maintained a presence ever since.
380:As Bullocks and files, housebreakers and padders,
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2383:, Sadler's Wells Theatre. Retrieved 11 June 2023
1137:
376:Butchers and bailiffs, and such sort of fellows,
317:The first, wooden, Sadler's Wells "Musick-House"
2800:. Hatfield: University of Hertfordshire Press.
2779:The Subjects of Literary and Artistic Copyright
1411:, Sadler's Wells Theatre. Retrieved 9 June 2023
828:tours for the first time. In their absence the
378:Mixed with a vermin train'd up for the gallows,
1539:Oxford Encyclopedia of Theatre and Performance
288:
186:is a London performing arts venue, located in
2907:
1058:Sixth theatre, seen from the south-west, 2005
700:, but the authorities refused to license it.
475:, establishing the theatre as a rival to the
442:In 1763 Rosoman engaged the dancers from the
2766:With four supplements, published 1966–1983.
2705:Pinks, William John; Edward J. Wood (1881).
2575:The English Spa, 1560–1815: A Social History
1073:The opening season included performances by
647:
485:Vineyard Revels, or, The Harlequin Bacchanal
453:
3898:Theatres in the London Borough of Islington
2652:The Methuen Drama Dictionary of the Theatre
2318:, 12 March 1999, p. 35; and "Dance/Opera",
1287:The Concise Oxford Companion to the Theatre
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2252:"NSWO decision 'robs creditors of cash'",
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1192:Sadler's Wells had the advantage over the
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2777:Sappa, Cristiana; Enrico Bonadio (2022).
2553:
2482:. Cambridge: Cambridge University Press.
2439:. Middletown: Wesleyan University Press.
2166:"News", The Stage, 20 January 1983, p. 31
1958:Haltrecht, pp. 59–60; and Goodwin, Noël.
1787:
1785:
1783:
1781:
1779:
1206:present London seasons at Sadler's Wells.
2451:
2436:Samuel Phelps and Sadler's Wells Theatre
1464:Temple, p. 144; and "London, Sept. 13",
1070:applied to the Matcham theatre in 1950.
1053:
747:
711:in 1894, aligned to the newly completed
663:
651:
533:
506:
479:in that genre. His shows, with music by
457:
399:
355:
312:
2833:
2795:
2743:British Music and the French Revolution
2721:
2673:. Brunswick: Rutgers University Press.
2534:
2497:Craine, Debra; Judith Mackrell (2010).
2413:
1964:Oxford Dictionary of National Biography
1918:Oxford Dictionary of National Biography
1797:Oxford Dictionary of National Biography
1755:Oxford Dictionary of National Biography
1745:
1743:
1728:
1516:
1514:
1272:
1049:
14:
3825:
2921:
2760:Rollins, Cyril; R. John Witts (1962).
2687:
2630:
2608:
2572:
2458:The Story of Sadler's Wells, 1683–1977
2369:
2367:
2140:, 22 March 1969, p. 18; and "Koanga",
1776:
1599:
1597:
1561:
1559:
1329:
1327:
1325:
2895:
2854:
2475:
2461:. Newton Abbot: David & Charles.
2432:
2008:
2006:
1854:
1396:
1394:
1392:
1390:
1388:
1386:
1384:
1382:
1372:
1370:
969:, followed by Gilbert and Sullivan's
212:The philanthropist and theatre owner
136:Dance, production and receiving house
3805:
2740:
2709:(second ed.). London: Herbert.
2517:
2039:Craine, Debra, and Judith Mackrell.
1994:
1740:
1691:participating institution membership
1511:
1238:
1236:
489:The Whim-Wham, or, Harlequin Captive
372:described the clientele in 1699 as:
3838:Ballet venues in the United Kingdom
2668:
2649:
2577:. London: London University Press.
2364:
2051:; Craine Debra, "Go for the burn",
1594:
1556:
1479:Weekly Journal or British Gazetteer
1322:
1281:Hartnoll, Phyllis and Peter Found.
1245:
875:and others. Britten's ensemble the
681:capacity. The theatrical newspaper
24:
2814:
2635:. London: English National Opera.
2003:
1587:, 6 March 1765, p. 7; and "News",
1379:
1367:
236:; from the 1950s to the 1970s the
25:
3909:
2876:
2745:. Newcastle: Cambridge Scholars.
2633:A History of Sadler's Wells Opera
1541:, Oxford University Press, 2005
1233:
923:London Contemporary Dance Theatre
832:took the theatre for a season of
262:London Contemporary Dance Theatre
3804:
3793:
3792:
2290:English Heritage listing details
2047:, Oxford University Press, 2010
1966:, Oxford University Press, 2011
1920:, Oxford University Press, 2011
1799:, Oxford University Press, 2015
1289:, Oxford University Press, 2003
2386:
2351:
2338:
2325:
2308:
2295:
2283:
2280:, Aedas. Retrieved 11 June 2023
2259:
2246:
2190:
2169:
2160:
2147:
2130:
2121:
2112:
2103:
2094:
2085:
2076:
2067:
2058:
2033:
2024:
2015:
1985:
1976:
1952:
1939:
1930:
1906:
1897:
1885:
1876:
1867:
1845:
1836:
1827:
1818:
1809:
1767:
1715:
1706:
1697:
1663:
1654:
1641:
1628:
1619:
1606:
1577:
1568:
1547:
1527:
1502:
1493:
1484:
1471:
1458:
1449:
1436:
1414:
1358:
1349:
1340:
1260:Lay, p. 101; and Rendell, p. 26
1209:
1199:
1186:
1177:
1167:
1158:
1034:In 1994 a new chief executive,
601:; Phelps starred in roles from
3873:Music venues completed in 1998
3833:1683 establishments in England
2500:The Oxford Dictionary of Dance
2269:, 22 October 1998, p. 23; and
2045:The Oxford Dictionary of Dance
1313:
1304:
1295:
1263:
1254:
1149:
13:
1:
2082:Arundell, pp. 250 and 312–313
2073:Arundell, pp. 237 and 312–313
1226:
1138:Notes, references and sources
290:
156:
3662:Theatre Royal Stratford East
2554:Haltrecht, Montague (1975).
1970:UK public library membership
1924:UK public library membership
1803:UK public library membership
1761:UK public library membership
360:1700 newspaper advertisement
7:
3883:Pleasure gardens in England
3001:Delfont Mackintosh Theatres
2796:Schafer, Elizabeth (2007).
2726:. Barnsley: Pen and Sword.
2539:. London: Faber and Faber.
2153:Davies, Margaret. "Opera",
2136:"Cologne Opera for Wells",
1815:Allen, pp. 102, 119 and 202
1524:, 12 June 1847, pp. 182–183
640:, who had been running the
10:
3914:
3893:Theatres completed in 1998
3377:ChickenShed's Amphitheatre
2798:Lilian Baylis: A Biography
2707:The History of Clerkenwell
2688:Parker, John, ed. (1939).
2433:Allen, Shirley S. (1971).
2420:. London: B. T. Batsford.
2406:
2348:, 7 December 2007, p. 131
2265:"Teamwork designs venue",
2021:Parker, pp. 2000 and 2004.
1864:, 21 September 1879, p. 6
1337:, 5 June 1847, pp. 172–174
1102:Glyndebourne Touring Opera
1031:with heavy debts in 1989.
830:D'Oyly Carte Opera Company
483:, included such pieces as
283:
234:D'Oyly Carte Opera Company
29:
27:Theatre in London, England
3788:
3705:
3687:Upstairs at The Gatehouse
3362:
3269:
3211:
3166:
3118:
3095:
3052:
2999:
2936:
2927:
2764:. London: Michael Joseph.
2654:. London: Methuen Drama.
2518:Gaye, Freda, ed. (1967).
2414:Addison, William (1951).
2292:. Retrieved 28 April 2007
2276:20 September 2022 at the
1678:Oxford English Dictionary
1468:, 13 September 1712, p. 2
954:National Westminster Bank
668:1910 photograph, showing
648:Fourth theatre: 1879–1915
454:Second theatre: 1765–1802
444:Theatre Royal, Drury Lane
325:, near the boundary with
168:
163:
152:
140:
132:
122:
114:
75:
60:
56:
44:
3868:Grade II listed theatres
3329:Menier Chocolate Factory
3097:Nederlander Organization
2690:Who's Who in the Theatre
2631:Jarman, Richard (1974).
2573:Hembry, Phyllis (1990).
2520:Who's Who in the Theatre
2322:, 6 October 2001, p. 253
2314:"Welsh National Opera",
2305:, 11 January 1998, p. 18
2271:"Sadler's Wells Theatre"
1773:Sappa and Bonadio, p. 30
1283:"Sadler's Wells Theatre"
1142:
1111:In 2004 a new director,
744:Fifth theatre: 1931–1998
672:'s portico added in 1894
503:Third theatre: 1802–1879
477:Theatre Royal, Haymarket
205:and others presented by
148:200 Lilian Baylis Studio
3878:Opera houses in England
3858:Dance venues in England
3843:Birmingham Royal Ballet
3622:Rosemary Branch Theatre
2834:Thomson, Peter (2006).
2614:The Penguin Opera Guide
2535:Gilbert, Susie (2009).
2335:, 17 April 2004, p. 339
2219:(Count of Luxembourg);
2185:Illustrated London News
2155:Illustrated London News
2049:(subscription required)
1949:, 8 January 1931, p. 14
1683:Oxford University Press
1543:(subscription required)
1291:(subscription required)
966:The Count of Luxembourg
939:Dance Theatre of Harlem
935:Nederlands Dans Theater
258:Dance Theatre of Harlem
2722:Rendell, Mike (2022).
2650:Law, Jonathan (2013).
2361:, 6 March 2010, p. 289
2344:"Opera & Ballet",
2175:"For Sale Privately",
1991:Gilbert, pp. 44 and 57
1945:"New Sadler's Wells",
1860:"New Sadler's Wells",
1651:, 23 August 1773, p. 5
1059:
822:English National Opera
756:
673:
661:
547:
515:
463:
405:
404:Sadler's Wells in 1745
386:
361:
318:
230:English National Opera
184:Sadler's Wells Theatre
99:51.529444°N 0.106111°W
40:Sadler's Wells Theatre
32:Sadler's Wells (horse)
3720:Bolton's Theatre Club
3397:Battersea Arts Centre
2187:, 1 April 1988, p. 70
2127:Arundell, pp. 313–315
1842:Arundell, pp. 164–166
1725:, 17 April 1802, p. 1
1636:The Morning Chronicle
1591:, 12 April 1765, p. 3
1553:Thompson, pp. 129–130
1481:, 18 April 1724, p. 4
1407:10 March 2023 at the
1106:English Touring Opera
1098:Polish National Opera
1079:Tanztheater Wuppertal
1057:
783:as senior partner of
751:
676:Bateman commissioned
667:
655:
537:
510:
461:
403:
374:
366:Four Times of the Day
359:
316:
146:1,500 on three levels
51:Sadler's Wells, 2015
2862:. London: D. Henry.
2476:Carey, Hugh (1979).
2256:, 2 March 1989, p. 1
2144:, 18 May 1972, p. 11
2091:Gilbert, pp. 176–177
2064:Gilbert, pp. 592–595
1589:Lloyd's Evening Post
1585:Lloyd's Evening Post
1522:The Theatrical Times
1335:The Theatrical Times
1094:Welsh National Opera
1050:Sixth theatre: 1998–
900:Sadler's Wells Opera
881:Handel Opera Society
834:Gilbert and Sullivan
779:, who had succeeded
634:baths and washhouses
579:Troilus and Cressida
435:work castrated into
246:Handel Opera Society
104:51.529444; -0.106111
3740:Greenwich Playhouse
3637:Southwark Playhouse
3592:Queen's, Hornchurch
3587:Pleasance Islington
3261:Shakespeare's Globe
2741:Rice, Paul (2010).
2616:. London: Penguin.
2558:. London: Collins.
2379:1 June 2023 at the
2203:(H.M.S. Pinafore);
1936:Temple, pp. 156–157
1903:Temple, pp. 155–156
1882:Temple, pp. 154–155
1851:Temple, pp. 153–154
1703:Arundell, pp. 54–55
1681:(Online ed.).
1616:, 25 May 1774, p. 1
1533:Kinservik, Matthew
1123:Breakin' Convention
898:, the directors of
894:and his successor,
877:English Opera Group
718:The Daily Chronicle
238:English Opera Group
118:Sadlers Wells Trust
95: /
41:
3848:Contemporary dance
3324:Marylebone Theatre
2922:Theatres in London
2669:Lay, M. G (1999).
2399:, 1 September 2023
2243:(Countess Maritza)
1647:"Sadler's Wells",
1634:"Sadler's Wells",
1612:"Sadler's Wells",
1520:"Sadler's Wells",
1424:. Victorian London
1333:"Sadler's Wells",
1083:William Forsythe's
1060:
757:
730:Arthur Wing Pinero
674:
662:
548:
516:
464:
406:
362:
319:
39:
3820:
3819:
3612:Riverside Studios
3319:Lyric Hammersmith
3251:Royal Opera House
3207:
3206:
2938:ATG Entertainment
2847:978-0-52-183925-9
2826:978-0-30-013937-2
2807:978-1-90-280664-8
2788:978-1-80-088176-1
2752:978-1-44-382110-0
2733:978-1-52-679102-3
2680:978-0-81-351758-2
2661:978-1-40-813147-3
2642:978-0-95-036810-8
2623:978-0-14-051385-1
2584:978-0-48-511374-7
2565:978-0-00-211163-8
2546:978-0-571-22493-7
2510:978-0-19-956344-9
2489:978-0-52-122312-6
2468:978-0-71-537620-1
2397:Islington Gazette
2157:, 1 January 1983.
1968:(subscription or
1922:(subscription or
1894:in Temple, p. 155
1801:(subscription or
1759:(subscription or
1689:(Subscription or
1649:Public Advertiser
1614:Public Advertiser
1535:"patent theatres"
1400:Crompton, Sarah.
1355:Arundell, pp. 2–3
1113:Alistair Spalding
1096:(1999 and 2001),
1086:Ballett Frankfurt
810:Ninette de Valois
524:Theatres Act 1843
462:Rosoman's theatre
181:
180:
16:(Redirected from
3905:
3888:The Royal Ballet
3808:
3807:
3796:
3795:
3770:Stratford Circus
3542:Leicester Square
3522:Intimate Theatre
3507:Hen and Chickens
3372:Alexandra Palace
3334:The Other Palace
3304:Donmar Warehouse
3087:London Palladium
2934:
2933:
2916:
2909:
2902:
2893:
2892:
2888:
2887:
2885:Official website
2871:
2851:
2830:
2815:Temple, Philip.
2811:
2792:
2765:
2756:
2737:
2718:
2701:
2684:
2665:
2646:
2627:
2605:
2588:
2569:
2550:
2531:
2514:
2493:
2472:
2453:Arundell, Dennis
2448:
2429:
2400:
2390:
2384:
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2336:
2329:
2323:
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2299:
2293:
2287:
2281:
2263:
2257:
2250:
2244:
2235:(Merry Widow );
2211:(Bitter Sweet);
2194:
2188:
2173:
2167:
2164:
2158:
2151:
2145:
2134:
2128:
2125:
2119:
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2110:
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2101:
2098:
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2089:
2083:
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2074:
2071:
2065:
2062:
2056:
2050:
2037:
2031:
2030:Haltrecht, p. 71
2028:
2022:
2019:
2013:
2010:
2001:
2000:Arundell, p. 209
1998:
1992:
1989:
1983:
1980:
1974:
1973:
1956:
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1943:
1937:
1934:
1928:
1927:
1910:
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1858:
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1843:
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1833:Arundell, p. 164
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1639:
1638:3 May 1773, p. 1
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1153:
1068:Grade II listing
981:Countess Maritza
931:Merce Cunningham
845:Second World War
818:National Theatre
802:Ralph Richardson
800:as Malvolio and
776:
772:
660:'s theatre, 1879
567:Titus Andronicus
414:patent companies
303:Survey of London
292:
254:Merce Cunningham
242:Benjamin Britten
226:National Theatre
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3853:Dance in London
3823:
3822:
3821:
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3784:
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3477:Erith Playhouse
3364:
3358:
3265:
3226:London Coliseum
3221:Barbican Centre
3213:
3203:
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3091:
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3039:Victoria Palace
3029:Prince of Wales
2995:
2951:Apollo Victoria
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2856:Urban, Silvanus
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2381:Wayback Machine
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2278:Wayback Machine
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2109:Gilbert, p. 213
2108:
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2100:Gilbert, p. 205
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1721:Advertisement,
1720:
1716:
1712:Arundell, p. 64
1711:
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1672:"stage manager"
1668:
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1660:Arundell, p. 34
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1625:Arundell, p. 29
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1603:Arundell, p. 27
1602:
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1574:Arundell, p. 24
1573:
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1565:Arundell, p. 23
1564:
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1519:
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1507:
1503:
1499:Arundell, p. 15
1498:
1494:
1490:Arundell, p. 11
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1409:Wayback Machine
1399:
1380:
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1319:Thomson, p. 128
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1052:
1040:Peacock Theatre
1014:The Merry Widow
1008:La belle Hélène
987:H.M.S. Pinafore
950:Camden Festival
948:(1969) and the
915:London Coliseum
785:Matcham and Co.
774:
770:
746:
738:First World War
713:Rosebery Avenue
650:
611:Charles Dickens
583:
513:King William IV
505:
456:
427:version of the
383:
381:
379:
377:
299:Dennis Arundell
295:
289:First theatre:
286:
274:Peacock Theatre
256:companies, the
188:Rosebery Avenue
169:
147:
127:Grade II listed
103:
101:
97:
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64:Rosebery Avenue
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3715:Above the Stag
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3554:
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3529:
3524:
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3509:
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3502:Hackney Empire
3499:
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3120:Nimax Theatres
3116:
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2956:Duke of York's
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2877:External links
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2612:, ed. (1997).
2610:Holden, Amanda
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2041:"Royal Ballet"
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2014:
2002:
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1873:Temple, p. 154
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1376:Arundell, p. 6
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999:The Gondoliers
919:Ballet Rambert
841:Tyrone Guthrie
745:
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642:Lyceum Theatre
638:Sidney Bateman
628:and the young
591:George Bennett
557:
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2118:Gaye, p. 1554
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2018:
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2007:
1997:
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1982:Schafer, p. 4
1979:
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1824:Allen, p. 107
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1749:Moody, Jane.
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1346:Addison, p. 4
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946:Cologne Opera
942:
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905:
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896:Stephen Arlen
893:
892:Norman Tucker
889:
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850:David Webster
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793:Twelfth Night
788:
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781:Frank Matcham
778:
777:M. Chancellor
766:
762:
761:Lilian Baylis
754:
753:Lilian Baylis
750:
741:
739:
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734:Seymour Hicks
731:
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631:
630:Nellie Farren
627:
626:Hermann Vezin
623:
618:
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612:
608:
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599:Isabella Glyn
596:
592:
588:
587:Laura Addison
581:
580:
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569:
568:
563:
562:
556:
554:
553:J. P. Wearing
546:
545:
541:as Wolsey in
540:
539:Samuel Phelps
536:
532:
529:
528:Samuel Phelps
525:
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497:Sarah Siddons
492:
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431:-Shakespeare-
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240:, founded by
239:
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215:
214:Lilian Baylis
210:
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207:Samuel Phelps
204:
200:
195:
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176:
173:.sadlerswells
167:
162:
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145:
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128:
125:
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108:
80:
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69:
63:
59:
55:
48:
43:
37:
33:
19:
18:Sadlers Wells
3810:
3797:
3760:New Players'
3632:South London
3602:RADA Studios
3597:The Questors
3562:Old Red Lion
3547:Little Angel
3422:The Broadway
3392:Barons Court
3271:Off West End
3255:
2859:
2836:
2816:
2797:
2778:
2761:
2742:
2723:
2706:
2689:
2670:
2651:
2632:
2613:
2593:
2574:
2555:
2536:
2519:
2499:
2478:
2457:
2435:
2417:English Spas
2416:
2396:
2388:
2358:
2353:
2345:
2340:
2332:
2327:
2319:
2315:
2310:
2302:
2297:
2285:
2266:
2261:
2253:
2248:
2192:
2184:
2181:Bitter Sweet
2180:
2176:
2171:
2162:
2154:
2149:
2141:
2137:
2132:
2123:
2114:
2105:
2096:
2087:
2078:
2069:
2060:
2052:
2044:
2035:
2026:
2017:
1996:
1987:
1978:
1963:
1954:
1946:
1941:
1932:
1917:
1908:
1899:
1891:
1887:
1878:
1869:
1861:
1856:
1847:
1838:
1829:
1820:
1811:
1796:
1769:
1754:
1737:Allen, p. 77
1722:
1717:
1708:
1699:
1676:
1665:
1656:
1648:
1643:
1635:
1630:
1621:
1613:
1608:
1588:
1584:
1579:
1570:
1549:
1538:
1529:
1521:
1504:
1495:
1486:
1478:
1473:
1465:
1460:
1451:
1443:
1438:
1426:. Retrieved
1416:
1360:
1351:
1342:
1334:
1315:
1306:
1297:
1286:
1265:
1256:
1247:
1211:
1201:
1188:
1179:
1169:
1160:
1151:
1120:
1110:
1072:
1061:
1033:
1024:Bitter Sweet
1022:
1012:
1006:
997:
991:
985:
979:
970:
964:
943:
908:
885:
856:Peter Grimes
854:
838:
826:
814:Royal Ballet
798:John Gielgud
791:
789:
758:
726:Bernard Shaw
723:
716:
705:Bertie Crewe
702:
694:
689:
682:
678:C. J. Phipps
675:
670:Bertie Crewe
658:C. J. Phipps
656:Interior of
619:
615:John Forster
595:Fanny Cooper
584:
577:
571:
565:
559:
549:
542:
521:
517:
493:
488:
484:
469:
465:
441:
418:
407:
395:
389:
387:
375:
363:
351:
347:rope-dancers
320:
296:
270:
222:Royal Ballet
211:
196:
183:
182:
36:
3780:Westminster
3730:Cock Tavern
3577:Pentameters
3567:Orange Tree
3537:King's Head
3512:Hoxton Hall
3344:Royal Court
3236:The Old Vic
3212:Other major
3194:Shaftesbury
3189:St Martin's
3167:Independent
3054:LW Theatres
3014:Noël Coward
2946:Ambassadors
2374:"Our Story"
1723:True Briton
1466:Flying Post
1174:restricted.
1104:(2007) and
1090:Royal Opera
1075:Pina Bausch
1029:liquidation
1019:Noël Coward
1004:Offenbach's
927:Alvin Ailey
622:J. L. Toole
420:The Tempest
327:Clerkenwell
250:Alvin Ailey
203:Shakespeare
123:Designation
102: /
77:Coordinates
3827:Categories
3692:White Bear
3657:Theatre503
3487:Finborough
3442:Canal Café
3407:Bloomsbury
3363:Fringe and
3158:Vaudeville
3153:@sohoplace
3072:Drury Lane
2981:Piccadilly
2715:1107606811
2602:1000937503
2445:1036847847
1693:required.)
1227:References
1217:proscenium
1036:Ian Albery
1011:, Lehár's
972:The Mikado
888:South Bank
869:Stravinsky
806:Toby Belch
698:music hall
573:Richard II
544:Henry VIII
473:pantomimes
87:51°31′46″N
3775:Warehouse
3642:The Space
3582:The Place
3552:Millfield
3497:Greenwich
3472:Courtyard
3452:Churchill
3437:Brookside
3382:artsdepot
3354:Young Vic
3309:Hampstead
3199:Trafalgar
3184:Haymarket
3179:Criterion
3067:Cambridge
3044:Wyndham's
2986:Playhouse
2772:504581419
2698:473894893
2359:The Times
2357:"Opera",
2346:The Times
2333:The Times
2331:"Opera",
2320:The Times
2316:The Times
2303:The Times
2301:"Opera",
2267:The Stage
2254:The Stage
2241:173233099
2177:The Stage
2142:The Times
2138:The Times
2053:The Times
1972:required)
1947:The Stage
1926:required)
1805:required)
1763:required)
1442:Highfill
1402:"History"
1108:(2010).
993:Ruddigore
843:. In the
796:starring
707:of a new
437:an opera"
425:Garrick's
410:burlettas
339:Tunbridge
323:Islington
310:in 1614.
308:New River
293:1683–1765
199:pantomime
192:Islington
90:0°06′22″W
3799:Category
3725:Cochrane
3697:Wilton's
3607:Richmond
3482:Etcetera
3427:Broadway
3412:Bob Hope
3387:Ashcroft
3365:suburban
3241:Open Air
3231:National
3214:theatres
3110:Dominion
3034:Sondheim
2929:West End
2858:(1784).
2455:(1978).
2377:Archived
2274:Archived
2233:20442857
2225:17428613
2217:29663228
2209:32832811
2201:27980350
1583:"News",
1477:"News",
1446:, p. 224
1405:Archived
1100:(2004),
1092:(1999),
1044:West End
977:Kálmán's
958:operetta
937:and the
607:Falstaff
561:Henry VI
555:writes:
370:Ned Ward
278:West End
264:and the
142:Capacity
66:London,
3811:Commons
3765:Saville
3755:New End
3750:Mermaid
3735:Empress
3677:Unicorn
3672:Turbine
3467:Coronet
3462:Compass
3457:Cockpit
3447:Chelsea
3279:Almeida
3246:Peacock
3138:Garrick
3133:Duchess
3105:Aldwych
3062:Adelphi
3019:Novello
3009:Gielgud
2976:Phoenix
2961:Fortune
2868:7607917
2528:5997224
2407:Sources
1862:The Era
1757:, 2014
1127:hip hop
1042:in the
962:Lehar's
865:Janáček
765:Old Vic
709:portico
690:The Era
684:The Era
433:Purcell
284:History
276:in the
218:Old Vic
164:Website
71:England
61:Address
3745:Landor
3707:Former
3652:Tabard
3289:Bridge
3284:Arcola
3148:Palace
3128:Apollo
2971:Lyceum
2866:
2844:
2823:
2804:
2785:
2770:
2749:
2730:
2713:
2696:
2677:
2658:
2639:
2620:
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2486:
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2443:
2426:422941
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2207:
2199:
1892:Quoted
1444:et al.
1428:2 June
904:Wagner
816:, the
775:
771:
755:, 1924
603:Hamlet
576:, and
487:, and
448:Joseph
429:Dryden
224:, the
153:Opened
3682:Union
3667:Troxy
3143:Lyric
2991:Savoy
1687:
1143:Notes
911:cycle
873:Weill
861:Verdi
343:Epsom
115:Owner
3627:Shaw
3572:Park
3492:Gate
3402:Beck
3349:Soho
3314:Kiln
3294:Bush
3174:Arts
2864:OCLC
2842:ISBN
2821:ISBN
2802:ISBN
2783:ISBN
2768:OCLC
2747:ISBN
2728:ISBN
2711:OCLC
2694:OCLC
2675:ISBN
2656:ISBN
2637:ISBN
2618:ISBN
2598:OCLC
2579:ISBN
2560:ISBN
2541:ISBN
2524:OCLC
2505:ISBN
2484:ISBN
2463:ISBN
2441:OCLC
2422:OCLC
2237:OCLC
2229:OCLC
2221:OCLC
2213:OCLC
2205:OCLC
2197:OCLC
1430:2007
1064:RHWL
1017:and
996:and
975:and
929:and
921:and
909:Ring
820:and
732:and
613:and
597:and
341:and
335:Bath
331:spas
252:and
228:and
175:.com
159:1683
133:Type
3517:ICA
2183:",
1077:'s
1021:'s
941:.
906:'s
804:as
605:to
333:at
280:.
171:www
68:EC1
3829::
2395:,
2366:^
2043:,
2005:^
1962:,
1916:,
1795:,
1778:^
1753:,
1742:^
1730:^
1675:.
1596:^
1558:^
1537:,
1513:^
1381:^
1369:^
1324:^
1285:,
1274:^
1235:^
1081:,
1002:,
990:,
933:,
890:;
883:.
871:,
867:,
863:,
824:.
787:.
773:G.
769:F.
728:,
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