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"dress circle" Definitions
  1. the first level of seats above the ground floor in a theatre
"dress circle" Synonyms
upper circle circle gods gallery balcony loggia nosebleed section balustrade box platform mezzanine catwalk the gods upper tier

212 Sentences With "dress circle"

How to use dress circle in a sentence? Find typical usage patterns (collocations)/phrases/context for "dress circle" and check conjugation/comparative form for "dress circle". Mastering all the usages of "dress circle" from sentence examples published by news publications.

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Tickets run $115 for the Dress Circle and $150 for the Orchestra; you can grab your tickets here.
We may feel like we are watching the action from the dress circle, but their voices reach us still.
You might find yourself in the Orchestra or the Dress Circle, which would generally be out of our price range.
Despite a side gig as an abstract photographer, though, he doesn't venture very far past the dress circle in this book.
"England is in the gallery, the tropics in the upper circle, Australia on the dress circle and the antarctic in the pit," he wrote.
When Vivian Goldring began ushering on the Dress Circle 28 years ago, the section was filled by subscription holders who attended many shows per season.
Before "Luisa Miller" — with quotation marks — there was a "viva Verdi" toast at the august Metropolitan Opera Club, which has its own room on the dress-circle level of the Met.
The ceremony was held on the Grand Tier, lunch at the Dress Circle, and cake was served in the Family Circle, all in view of the Met's arched windows, Sputnik chandeliers, and the Lincoln Center fountain outside.
The theater's new operator, the Ambassador Theater Group, converted an old men's smoking lounge into restrooms, knocking through a wall to gain space, and then demolished a dress-circle level area previously used for air conditioning units to add more stalls.
This time I'm up in the dress circle, squinting through dry contacts to get a good look Minhaj, who's energy permeates the cavernous space as much as it filled cozy Cherry Lane years ago – if anything, his performance is magnified to match the venue.
The two-story house is set on 2.43 hectares, or six acres, and, for a visitor making his way down the gently sloping driveway, past its tennis court to the dress circle entrance, the building stops short of dominating its rural parcel of land.
The main auditorium could seat 1,911 people. This included dress circle, private boxes, stall and gallery seating.
The theatre could seat 1,350 people, with 350 in the dress circle, 250 in the stalls and 750 in the pit. It was designed by Andrea Strombuco who had also designed Her Majesty’s Theatre. It had a private refreshment room for the dress circle patrons and a smoking room.
Many stars of the West End stage used the Dress Circle as a vehicle to promote their latest CD, DVD or autobiography by attending specially organised signings. Elaine Paige,Elaine Paige dress circle signing John Barrowman,John Barrowman dress circle signing Kerry Ellis, Jodie Prenger,Jodie Prenger dress circle signing Julie Andrews and Idina Menzel have all promoted their work in this way. Original Cast Albums were frequently promoted in this way also; recent examples being The Sound of Music, The Lord of the Rings, Sister Act,Sister Act Cast Album Signing Les Misérables (musical), Legally Blond and Avenue Q. Other signings included principal cast members of the new live cast recording of the Les Misérables 25th Anniversary.
It was fitted with tip-up seats of modern design, with plush upholstery for those in the dress circle.
Access to the dress circle was more straightforward. Patrons entered and left the dress circle via a flight of stairs that descended south to a landing, then turned right onto a second flight that opened into the lobby. Patrons in the dress circle also had a second emergency exit along the alley side of the building, going down a flight of stairs to the middle exit onto Flood's Alley. The exit was generally locked to thwart gate crashers so the stairs were little used and not well known.
There are four private boxes on the Dress Circle level, as well as two proscenium boxes on the Upper Circle balcony.
East Ryde is a relatively small, quiet suburb surrounded by bushland and water on all but one side. The majority of East Ryde is located on top of a ridge, formerly a council rubbish tip, a locality known as the Dress Circle Estate, which was developed by Hooker Rex and opened in 1960.Monument Australia. Dress Circle Estate.
The album was only made available through the London musical theatre merchandise shop Dress Circle and at the venues on Webb's tours.
As they emerged from the dress circle stairs into the lobby, they encountered a stream of other patrons on their right rushing from the parquet and wheeling toward the Washington Street exit. After Thomas Rocheford had opened the Flood's Alley exit, they collided with an opposing stream working toward that door, which was situated beneath the flight of stairs descending from the dress circle. (See Floor Plan 2). The crush developing from these cross-currents soon brought the pace on the dress circle stairs to a halt, inducing a frenzied panic when people further up pressed downward, unaware of the jam below.
A dress circle sits above the foyer and is reached by a set of timber stairs to the left of the doorway from the foyer into the auditorium. The dress circle has a sloping timber floor and accommodates several rows of moveable seats. The bio-box standing to the rear of the dress circle is newly lined with plasterboard and accommodates the electronic console controlling the film projection. The auditorium has a flat (not raked, as often found in theatres) floor of fine crow's ash boards and a coved ceiling newly lined with plasterboard with plain batten cover strips.
The theatre has four tiers of seating, the stalls, dress circle, upper circle and balcony with a total capacity of 1,186 seats. It has seven fully licensed bars including The Green Room Cafe Bar on the ground floor and The Restaurant on the dress circle level. The theatre is served by the adjacent Royal Centre tram stop on the Nottingham Express Transit.
1913 The committee decided to recover 300 armrests, in Utrecht velvet. 1915 Staircase to dress circle treated with dark spirit stain. 1917 Engineer reports on ventilation.
There were two boxes which seated 30 in total on each side at Dress Circle level, with elaborate plasterwork on the dress circle and box fronts. The proscenium opening was 24 feet wide and 26 feet deep with the flies 32 feet high. In addition there were eight dressing rooms, a manager's office and a band room with the stalls, pit and circle each having its own licensed bar.
The new layout of the hall consisted of a stage, stalls and pit on the ground floor and dress circle, promenade and a gallery on top of the foyer.
Other decorative elements include face-brick quoining, Art Nouveau signage, roughcast stucco render in some sections, and dormer windows. Hall and stage viewed from the dress circle, 2011 Internally the building features a large hall and stage, a library chamber and various administrative offices. The hall has a mezzanine dress circle level, with early timber and iron row seating. The ceiling of the hall and the proscenium arch are sheeted with decorative pressed metal.
It had a dress circle, upper boxes and gallery, and was said to seat about 3,000. It opened on 12 March 1855."Prince of Wales Theatre" The Dictionary of Sydney.
Dress Circle still continues online and supplies a range of Musical Theatre CDs, DVDs and other Theatrical Memorabilia including rare items, such as vinyl and brochures from long past shows.
The shop, which was named after the area of a traditional theatre called the dress circle, was founded in 1978 with the intention of providing an unrivalled selection of musical theatre and cabaret related merchandise. It claimed to be the longest running show business and musical theatre shop in the worlddresscircle.co.uk and celebrated its 30th anniversary in 2008. In 2011, Murray Allan owner of Dress Circle announced financial problems with the business and that closure would be imminent.
The station has won several ASCAP Foundation Deems Taylor/Virgil Thomson Radio Broadcast Award as well as a National Federation of Community Broadcasters Silver Reel Award for the program The Dress Circle.
"An Account of the Fire" in "Holocaust" Brooklyn Daily Eagle December 6, 1876 page 2, column 6 Each set was across. The southern door closest to Myrtle Avenue opened into the eastern end of the lobby, underneath the flight of stairs leading from the lobby to the dress circle. The middle set opened onto a hallway adjoining the parquet, and the northern set opened near the stage and orchestra pit. The middle set served a stairway ascending to the second floor dress circle.
Those in the second floor dress circle had to contend with stairs. The main flight led to the lobby and eventually the Washington Street exit; a second flight led to the Flood's Alley side door close to Johnson Street. Most favored the main flight because it was the way in which they had first entered the circle and were already familiar with it. The stairway was over wide, and, according to Jackson's estimates, should have emptied the dress circle in under three minutes.
The First Tier and Second Tier consist of sixty-five boxes; the First Tier has 264 seats at eight seats per box and the Second Tier seats 238, with boxes ranging from six to eight seats each. Second from the top is the Dress Circle, seating 444 in six rows; the first two rows form an almost- complete semicircle. At the top, the balcony seats 837. Although seats with obstructed views exist throughout the auditorium, only the Dress Circle level has structural columns.
Some people in the dress circle, familiar with the theatre, tried to avail themselves of the other exit leading into Flood's Alley, near the corner of Johnson Street. Patrons in the first rush down the stairs found the door locked; no usher was in sight."Holocaust" Brooklyn Daily Eagle December 6, 1876 page 2, column 9 In the brief time it took them to discover that the door was locked and return to the dress circle, the stage had become engulfed and they had no recourse but to attempt to work their way down the main dress circle stairs to the lobby, adding their numbers to the crush on those stairs. Fire Marshall Keady would later write that he never found evidence that the exit had been opened.
He fell to the dress circle below, severely cutting himself in the groin on the iron-backed chairs, but he retained consciousness and was able to run to the dress circle door."The Brooklyn Disaster" 'Daily Alta California' December 9, 1876 page 1 column 6 There, he encountered another scene of bedlam, this one on the stairway from the dress circle, where people were struggling over those who had fallen on the stairs. Fortunately, Vine was now nearer the Washington Street entrance, where Cain and his fellow police officers were slowly reinstating some kind of rough order.'Thomas Rocheford' "How the Great Disaster Happened" Brooklyn Daily Eagle December 28, 1876 page 3 column 7 He was able to gain the lobby and helped clear the crush around the stairs.
Barks promoted the song with a live performance on SB.TV. Barks performed the song at Stuart Matthew Price and James Yeoburn's benefit concert for Dress Circle, the Dress Circle Benefit Gala, on 7 August 2011 at Her Majesty's Theatre and the song was later included on the tribute compilation album Standing Ovation: A CD Tribute to Dress Circle which was released on 17 August 2011. Barks began 2011 with a starring role in the concert Direct From the West End. Run by a company called "Musical Ovation Ltd" set up by Scott Garnham and Martin Neely, the concert was performed for three nights—23 January in York, 6 February in Oxford and 13 February 2011 in Windsor. The concert featured two hours of songs from popular West End musicals.
The main supports of the dome were a series of columns surmounted by richly ornamented caps. These columns were also cased with corrugated iron. There were three distinct areas for the audience: the orchestra seats, dress circle, and the pit, with a wide promenade in the rear, around the entire circle of seats. The 600 orchestra seats were composed of arm sofas, for which 75 cents was charged. In the rear was the dress circle, in which there was seating capacity for 500 persons.
Upon release, Ellis gave two album signings for Anthems. The first was held at HMV Oxford Circus on 13 September 2010; the second at London theatre and showbiz merchandise shop, Dress Circle, on 18 September 2010.
The 1920 remodel of the theatre provided for additional seating, with the removal of the gallery and old dress circle. Another series of renovations occurred in 1941. Dressing rooms for performers were hot particularly in Brisbane summers.
The production would star Maxwell Caulfield, Samantha Barks, Arthur Darvill, Rosemary Ashe, Nicolas Colicos and Simon Lipkin. Ashe and Barks previously worked with the producer pair in 2011 on an award-winning celebratory concert for Dress Circle.
It opened on 19 December 1930 as a dual-purpose live theatre/cinema with 1,760 seats in stalls, dress circle and balcony levels. There were three boxes adjacent to each side of the proscenium at dress circle level, but these were only used during live performances. The foyer walls were decorated with polished black marble. The first operators were Warner Brothers and the opening programme was the Warner Brothers two-tone Technicolor film Viennese Nights starring Vivienne Segal supported by a stage dance production including Balliol and Merton and the Victoria Girls.
Brooklyn Theatre Floor Plan 1. Published in the New-York Tribune December 7, 1876. A. Flood's Alley entrance opened by Thomas Rocheford, furnishing patrons an extra avenue of escape. B. Stairway to dress circle gallery on the second floor.
Housing developments appeared along the proposed route. One of these was on a hill near a proposed station at the eastern corner of today's Macquarie Hospital grounds. Because of its elevated position it was called the Dress Circle Estate.
Soper can be heard on the International Symphonic Recording of Les Misérables and the original London cast recording of Sunday in the Park with George. Her solo album, Flying Fish and Fallen Angels, was released on the Dress Circle label.
In 2008 Lee-James recorded a song for the CD Act One – Songs From The Musicals Of Alexander S. Bermange, an album of 20 brand new recordings by 26 West End stars, released in November 2008 on Dress Circle Records.
The projection equipment was housed in the former dress circle bar. In 1931, the cinema became part of Gaumont British, and it was at this time that the theatre boxes were removed. In 1950, it was renamed the Gaumont and the upper tier was closed for seating, and capacity was therefore reduced to 196 in the dress circle and 319 in the stalls, a total of 515. In 1972, the Rank Organisation (which had taken over Gaumont) proposed to demolish the building, but a local campaign based upon its architectural merit and its interesting history secured its survival and, indeed, refurbishment.
By chance a passing railroad agent saw the crowd pressing against the door and unfastened the hinges from the outside using tools that he normally carried with him, allowing the actors and stagehands to escape. As the vents above the stage were nailed or wired shut, the fireball instead traveled outwards, ducking under the stuck asbestos curtain and streaking toward the vents behind the dress circle and gallery away. The hot gases and flames passed over the heads of those in the orchestra seats and incinerated everything flammable in the gallery and dress circle levels, including patrons still trapped in those areas. Those in the orchestra section exited into the foyer and out of the front door, but those in the dress circle and gallery who escaped the fireball could not reach the foyer because the iron grates (closed during performances to prevent patrons in the cheaper seats from sneaking downstairs to the more expensive lower levels) that barred the stairways were still in place.
The Dress Circle Benefit played at Her Majesty's Theatre on 7 August 2011 and united the best of the Westend and Broadway accompanied by a 50 piece orchestra. The concert, hosted by Aled Jones, featured original cast members from Les Misérables, Parade, The Witches of Eastwick and Miss Saigon surprised audiences with a guest, un-billed, appearance from Ellen Greene who reprised her role as Audrey in the film version of Little Shop of Horrors. The Dress Circle Benefit Concert and producers Stuart Matthew Price and James Yeoburn received Whatsonstage and Broadway World nominations for 'Theatrical Event of the Year' in 2011. Dress Circle announced on 31 July 2012dresscircle.co.uk that it would close on 15 August 2012 after failing to negotiate a lease and citing a decline in sales due to "The downturn in the economy" and "CD’s becoming relics and downloads being more popular" Dress Circle's retail shop finally closed down on 28 February 2013.
Initially the building held a theatre and shops. The theatre was able to hold 1,000 people. The theatre cost £5,000 and was owned and operated by West's Picture Company. It boasted refreshment stalls, a winter garden for ladies and a spacious dress circle.
Dress Circle is a British specialist store that sells products related to the musical theatre, including cast albums, books, merchandise, and memorabilia. From 1978 until 2013, it operated a store near Covent Garden, London; since 2013 it has been an online-only retailer.
Mary Avenue (now Elliott Avenue) was named after Henry's wife, Mary Jane Heard. Twin Road (formerly Bridge Road, extended into today's Moncrieff Drive and Melba Drive) was named after Henry and Mary's twin daughters Laura and Mabel, who were born in 1873.The History of the Dress Circle Estate, John Hood (Ryde District Historical Society) 2010.Origins of the Street Names in the City of Ryde . On 1 October 1960 the Mayor of Ryde, Alderman ELS Hall, unveiled a drinking fountain and plaque in the reserve outside the shopping centre, commemorating the successful development of 500 home sites and the construction of 250 modern homes on the Dress Circle Estate.
They heard no traffic on the stairway, heard no human sounds. They called up but received no response. Farley ordered one last inspection of the dress circle, but saw no activity. Nor was there any signs of life in the parquet and orchestra, below, now burning fiercely.
1905 Wanganui Liedertafel - 20th Grand Concert. 1909 Handrails provided on stairs leading to Dress Circle. 1910 Agreement in July to cover stage entrance before next winter. 1911 Engineer told to prepare specifications and tenders invited for erecting stage. 1912 Larger music stands and improved lamp holders for the orchestra.
Its proscenium had gold Corinthian columns. The horse shoe shape of the dress circle obscured side views of the stage. After the 1911 refurbishment, the interior was marked by salmon pink, green and cream accents. Seating and ventilation was improved along with the installation of a sliding roof.
Union Theatres Ltd. renovated the Tivoli Theatre in 1927 using Sydney architects, Kaberry and Chard. This was to provide for more seating as the venue changed from a live theatre venue to that more suited to a film going audience. Two galleries were removed to make way for a single dress circle.
"JazzOn2" is also on the HD2 channel of WWNJ. WWFM also broadcasts in the Philadelphia market on digital (HD) radio on 89.5 HD2. The station is known for programs featuring opera, symphonic music, jazz, and musical theater. Well known programs include Between the Keys, PostClassical, The Well Tempered Baroque, and The Dress Circle.
London's Stage newspaper reported the story on the front page of its issue. Shortly after this announcement Dress Circle reported an 'immeasurable amount of support' from the performance community. Actor/producers Stuart Matthew Price and James Yeoburn were quick to arrange a series of in-store events and fund-raising galas under the name Dress Circle Benefit. Theatre performers, composers and celebrities from across the world came together in support of their mission and Dress Circle's small Covent Garden shop played host to the likes of: Barry Manilow, Ramin Karimloo, Alex Gaumond, Laurence Mark Whythe, Matt Rawle, John Owen Jones, Scott Alan, Oliver Tompsett, Lance Horne and Lucy May Barker in a month of weekend productions culminating in a sold-out concert in London's West End.
In 2008 Strallen recorded a song for the CD Act One – Songs From The Musicals Of Alexander S. Bermange, an album of 20 brand new recordings by 26 West End stars, released in November 2008 on Dress Circle Records. She can also be heard on the Love Never Dies cast recording as Meg Giry.
The wall surfaces have been rendered and scribed to imitate stone blocks and a new ceiling with downlights has been installed. A door opens to the shops on either side. The landing level has carved timber balusters which pre-date the existing stair and balustrade. The auditorium is entered under the gallery, or dress circle.
Mander and Mitchenson, p. 67 The original seating capacity was 1,186, comprising 140 stalls, 120 dress circle, 126 upper boxes, amphitheatre 100, pit 400 and gallery 300. the construction was completed in six months. The theatre was, and remains, a three-tier house, its exterior in the classical tradition in painted (stucco) stone and brick.
These changes resulted in a larger pit and an enlarged Dress Circle, among other changes. New heating was also installed and the theatre was wired for electric light. The Theatre Royal reopened on 31 October 1900 with a performance of Florodora. However, it burnt down on 18 February 1908 with only a small section of the auditorium surviving.
The theatre stood on a plot of land 60 x 100 feet (20 x 30 meters). The façade was "plain and substantial, rather than ornamental." It was made of Philadelphia brick with trimmings of Nova Scotia stone. The auditorium was 60 x 60 feet (20 x 20 m) with a parquet or orchestra circle, dress circle, and gallery.
The Ambassadors Theatre (formerly the New Ambassadors Theatre), is a West End theatre located in West Street, near Cambridge Circus on Charing Cross Road in the City of Westminster. It is one of the smallest of the West End theatres, seating a maximum of 444, with 195 people in the dress circle and 251 in the stalls.
The gardens are divided into several areas: the Conifer Arboretum, Dress Circle, Millennium Hill, Native Bush and Wetlands, Lakeside Flats and the Woodlands area. Flora includes camellias, daffodils, magnolias, Norfolk Island Pine, and roses. A Mediterranean garden includes Aeonium, Aloe, Agave, Euphorbia and Echium. The subtropical section of the garden includes the aloes and phoenix palms.
Fenno was stage manager. The prices were: dress circle, 50 cents; parquette and family circle, 25 cents; "a new and commodious amphitheatre, comprising the entire third and fourth tiers, capable of seating 2,000 persons, 12 cents". The opening play was The Lady of Lyons with Eddy opposite Julia Dean Hayne, who began an engagement of three weeks.
Alexela Concert Hall (, earlier Nokia Concert Hall ()) is a concert hall in Tallinn, Estonia. The hall is located adjacent to Solaris Center. The hall's owner is Tallinna Kontserdimaja AS. The hall was constructed from 2007–2009. The hall consists of 1,829 seats as follows: 1,030 in the arena, 491 in the dress circle and 308 in the upper circle.
A compromise was soon reached: after closing for extensive renovations on 17 November 1963, the street foyer and stalls area were demolished to make way for a shopping arcade, now known as the Capitol Arcade, whilst retaining the ceiling and upper half of the auditorium to create a single-level cinema seating 600. The stage was raised within the proscenium by about 6m, with the balcony seating extended down to this new level, and a new foyer created above the arcade, under a void that was part of the dress circle foyers which originally opened to the rear stalls. The dress circle foyers were retained but subdivided off and given over to new uses. The Wurlitzer organ was removed and relocated to the Dendy Cinema in Brighton in 1967.
In 1998 Melbourne city council hired Melbourne architecture firm 'Six Degrees’ to undertake a study that would explore the possibility for the theatre to be used as a festival and arts based centre. In 1999, RMIT University acquired the space in part to preserve the heritage of the building, but also to use it as a large CBD-based lecture theatre. They elected to keep ‘Six Degrees’ as the project architects, and conservation architect Michael Taylor. Their purchase included the blocked off dress circle lobbies as well as the main auditorium and the 1960s foyer, and the renovation plans sought to re-connect all the foyer areas (including demolishing a concrete floor that subdivided the dress circle lobby in two), as well as giving the building an overall safety upgrade, and disabled access.
After a fire, the house was rebuilt and reopened on 14 July 1834 to a design by Samuel Beazley. The building was unique in that it has a balcony overhanging the dress circle. It was built by the partnership of Peto & Grissell. The theatre then played opera, adaptations of Charles Dickens novels and James Planché's "fairy extravaganzas", among other works.
The auditorium ceiling was decorated with a number of cornices featuring egg and dart, chain and bead and other features. The cornices were decorated in rose, shamrock and thistle designs in green, salmon, blue and gold. Each side of the stage featured a pillar decorated in gold accents. Seats in the Dress Circle were in maroon velvet, as was the stage curtain.
The Vogue Theatre has 1,161 seats, with 614 on the orchestra level, 211 in the Dress Circle, and 336 on the Upper Circle. It has curved balconies and curved ceilings in the Art Deco style. The Vogue has an elaborate modulated lighting system. The stage, made of black-painted maple, is equipped with a flying system 30 feet above the floor.
At each end of this "Grand Assembly" a split-level staircase leads to the dress circle and a breathtaking view of the starry auditorium ceiling. The Regent "reveals many overseas influences including the "atmospheric" theatre type" (Greater Wollongong Heritage Study) It appears to reflect the architectural style of the Museum of Modern Art in New York, 1938/39 by Edward Durrell Stone.
The remaining elements of the interior are the stage, dress circle and conversion of the two shops as annexes to the auditorium. The stage is relatively small to avoid the stringent rules for fire control, yet provide enough space for live performance. The widening of the opening in 1959 permitted a screen size larger than that in many suburban, country and even capital city theatres. The dress circle with access from the lobby on one side, possesses an emergency exit stair on the other, also against the side wall. Whereas the stalls only ever had removable seating in banks (to clear away for social functions), the circle has upholstered fixed seating with wooden arm rests as was typical for the 1930s. The capacity for this portion of the auditorium commenced at some 400 but has been reduced to somewhere between 200 and 300.
Triplett has appeared on numerous cast recordings for shows including: Grease, Anything Goes as well as the recent National Symphony Orchestra studio recording of Lionel Bart's Oliver! In 2008 Triplett recorded a song for the CD Act One – Songs From The Musicals of Alexander S. Bermange, an album of twenty recordings by twenty six West End stars, released in November 2008 on Dress Circle Records.
A live London cast recording was recorded featuring Sheridan Smith, Alex Gaumond and Duncan James, on June 12, 13 and 14, 2010. It was released on August 16, 2010.Dress Circle Listing dresscircle.co.uk The London Cast Recording used the same track listing as the Broadway Cast Recording, with bonus tracks "Kyle the Magnificent" and the curtain call music added to the digital download version.
Lee Bernard. "Swash-buckling Savoy curtain- raiser", Sheffield Telegraph, 1 August 2008 W. J. MacQueen-Pope commented, concerning such curtain raisers: :This was a one-act play, seen only by the early comers. It would play to empty boxes, half-empty upper circle, to a gradually filling stalls and dress circle, but to an attentive, grateful and appreciative pit and gallery. Often these plays were little gems.
Lee Bernard. "Swash- buckling Savoy curtain-raiser", Sheffield Telegraph, 1 August 2008 W. J. MacQueen-Pope commented, concerning such curtain raisers: :This was a one-act play, seen only by the early comers. It would play to empty boxes, half-empty upper circle, to a gradually filling stalls and dress circle, but to an attentive, grateful and appreciative pit and gallery. Often these plays were little gems.
Lee Bernard. "Swash-buckling Savoy curtain-raiser", Sheffield Telegraph, 1 August 2008 W. J. MacQueen-Pope commented, concerning such curtain raisers: :This was a one-act play, seen only by the early comers. It would play to empty boxes, half-empty upper circle, to a gradually filling stalls and dress circle, but to an attentive, grateful and appreciative pit and gallery. Often these plays were little gems.
The rebuilt Theatre Royal opened on 13 December 1910. Built for Sir William Shipley and Captain Reginald Shipley, it was designed by Frank Verity, the son of the theatre architect Thomas Verity.The new theatre's facade was designed in the early English Renaissance style. The auditorium could seat 850 people: 164 in the stalls; 110 in the dress circle; 130 in the upper circle, and 380 in the gallery.
Elkan Allan's career in print journalism began in 1941, when he became the assistant editor of The Outfitter, a trade journal for menswear retailers. Allan was exempt from military service during World War II for health reasons. His contributions to The Outfitter included the column "Dress Circle", which featured reviews of costumes in theatre productions. He later worked for the Daily Express, Picture Post, John Bull and The Illustrated London News.
The dress circle extends several metres along the walls of the auditorium and its solid balustrade is surmounted by a timber railing. The auditorium has early oak-framed canvas seats. Originally these contained groups of one, two and four seats, but these have been replaced as groups of three and four seats, providing seating for approximately 100 patrons. There is additional seating for approximately 63 on later steel-framed canvas seats.
The seating capacity in 1894 was a staggering 2151. In the nineteenth century, seating in the auditorium was segregated by class, with the Dress Circle reserved for the gentry. For those "ordinary" people lucky enough to get in, they watched from the gallery where seats could not be booked in advance. The interior was overwhelming with its predominant colours of cream and claret and the ornate ceiling plasterwork.
In early 2007, Manning was chosen by British composer Alexander S. Bermange and Petula Clark to sing Petula Clark's song "My Love Will Never Die" on her album In Her Own Write. Her rendition of "My Love Will Never Die" released worldwide by Sepia Records, and was given a rave review on talkingbroadway.com and also on Clark's own website. The album is also available from Dress Circle and Amazon.
Cole, p174Murray Rowlands, Aldershot in the Great War: The Home of the British Army, Pen & Sword Military (2015) - Google Books - p32 The English Opera Company appeared here in March 1914 in The Bohemian Girl, Il Trovatore, Don Giovanni and Cavalleria Rusticana, among other works.Playbill for the English Opera Company - March 1914 at the Theatre Royal, Aldershot - Glenn Christodoulou Collection In 1917 the curtain raiser Ida Collaborates by Noël Coward and Esmé Wynne-Tyson was performed at the theatre.Noël Coward (Ed. Barry Day), The Letters of Noël Coward, Bloomsbury (2007) - Google Books pg38Paul H. Vickers, Aldershot Through Time, Amberley Publishing (2013) - Google Books This new theatre was very small on a small site and could only seat 881 in total, with 197 in the stalls, 220 in the pit, 84 in the Dress Circle, and 350 in the gallery at the rear of the dress circle with its own entrance from Gordon Road.
In less than two minutes he was seen in the middle of the dress circle and the cover is taken off the basket, showing that it is empty.” In a variation on the basket trick, Zamloch shut himself up in an oversized champagne basket on center stage. He would stick his hand out of the basket and fire a pistol and then a moment later greeting the audience by saying, “Hello” from the main entrance.
In 2004, she recorded a song for the CD Weird & Wonderful - A Collection Of Songs by Alexander S. Bermange celebrating weirdos and weirdness, featuring sixteen West End stars (released on Dress Circle Records). She can be heard on the cast recordings of The Phantom of the Opera, The Boy Friend, Bitter Sweet, Kismet, The Student Prince, Song of Norway, Oliver, The Killer Soprano, The Witches of Eastwick, Serious Cabaret, and Mary Poppins amongst others.
Mackintosh's Delfont Mackintosh Theatres took over operational control of the Gielgud from Andrew Lloyd Webber's Really Useful Theatres in 2006. Work on the facade of the theatre started in March 2007 and the interior restoration, including reinstating the boxes at the back of the dress circle, was completed in January 2008. The theatre is one of the 40 theatres featured in the 2012 DVD documentary series Great West End Theatres, presented by Donald Sinden.Fisher, Philip.
The clock tower is accessed in the vestibule at the rear of the dress circle by a fixed timber ladder leading to three levels containing various clock workings, weights and bells. The library features four different patterns of pressed metal on the ceiling, which indicate the original layout of the space. An early half-glazed door in the library has an embossed pattern, featuring lettering "THE MAYOR" in stylised Art Nouveau lettering.
Cover of a programme for Sinbad the Sailor, Christmas 1892 pantomime at the Gaiety The Theatre Royal in Dublin was completely destroyed by fire on 9 February 1879. Gunn began to spend more of his time in Dublin. In 1883 he employed the theatre architect Frank Matcham to expand the Gaiety. Matcham redecorated the auditorium in baroque style and built an extension to the west that held the parterre and dress-circle bars.
Further alterations were made in 1882 by Alexander Peebles, after which its capacity was 728 (including stalls and boxes, dress circle and balcony, amphitheatre, and gallery).Social history: Social and cultural activities, A History of the County of Middlesex: Volume 12: Chelsea (2004), pp. 166–76. Date accessed: 22 March 2007. After that, Arthur Cecil (who had joined the theatre's company in 1881) was co-manager of the theatre with John Clayton.
The blocks were only one-sixth of an acre (650 square metres) instead of one-quarter of an acre (1,000 square metres). These were big enough for single dwellings, the only type allowed under the covenant, rather than multiple dwellings. A group of residents, in July 2006 unsuccessfully campaigned to have the suburb name changed to increase the area's housing prices. Suggestions included Bel Air, Melba, Dress Circle, Boronia Heights, Bennelong and Wallumatta.
On Christmas night, Lester Wallack (John Lester) played the title part in the premiere of The Count of Monte Cristo, adapted by G. H. Andrews for this theatre, the first dramatization of the Alexandre Dumas novel to be performed in America. It ran 50 nights (dress circle and parquette raised to 75 cents), and was revived May 14–23, 1849. Henry Placide played March 5 – 24; with John Collins from March 12.
The interior of the theatre was a typical Edwardian horseshoe- shape to bring the audience closer to the performers. It featured stalls (seating 974), a dress circle (seating 540), an upper gallery (seating 1,074) and private boxes. The theatre incorporated several cooling features. Four small waterfalls were located on either side of the proscenium arch, intended to cool the audience in tandem with electric fans and a retractable dome in the ceiling.
The London cast album was released in 2006 on the Dress Circle label. The Chicago production's cast album was released in 2010. Both albums are produced by the composer, though conductor Matt Brind is credited as co- producer on the 2006 album, with Nigel Wright credited as Executive Producer. The first foreign language album was released in November 2015 in a German translation by Daniel Grosse-Boymann on the CoCordis record label in Austria.
The Garrick Theatre was a theatre in the former Aitken Street, near Princes Bridge, in the Southbank area of Melbourne, Australia. It opened in 1912 as the Snowden Picture Theatre. In 1916, it was renovated as the Playhouse, a legitimate theatre with stalls and a dress circle seating around 770 for the Melbourne Repertory Theatre. In 1933, the name changed again to the Garrick Theatre where it hosted productions by the Gregan McMahon Players and producer F.W. Thring.
"Lonely Symphony" was released as a single in the UK, as well as in other countries, and also appeared on her first solo album, Fragile. It reached number 25 in the UK Singles Chart in April 1994. Ruffelle's second album, Frances Ruffelle, came out in 1998, on the small Dress Circle label. It was a change in direction, featuring stripped-down arrangements of mostly musical theatre songs, as well as a couple of classics, original songs and covers.
A French balcony is actually a false balcony, with doors that open to a railing with a view of the courtyard or the surrounding scenery below. In theatres, the balcony was formerly a stage-box, but the name is now usually confined to the part of the auditorium above the dress circle and below the gallery. Balconies are part of the sculptural shape of the building allowing for irregular facades without the cost of irregular internal structures.
Entry was between shops into a foyer on ground floor, to stalls in the auditorium and a staircase led to supper rooms over the shops, accessible to the dress circle, with a balcony over the pavement. The King's Theatre was opened on 27 September 1904. It was also commonly known as the Dalkeith Opera House, in reference to the owner, James Gallop of (the suburb of) Dalkeith. The large, two storey, theatre building was designed to accommodate 1,200 people.
They came back and constructed Plaza theatre in the year 1936 modeling it after the Piccadilly Circus in London. The first film to be screened here was The Broadway Melody in April 1936. The theatre also had a wooden dance floor which was used by British soldiers for ball dancing. Initial ticket prices ranged from eight annas for the front seats to 1 rupee and 12 annas for the balcony's highest seat, called The Dress Circle.
The building was designed by local architect E. R. Wilson (1871–1941) as a two- storey Edwardian Neo-Baroque building. The structure was essentially two separate buildings, with the municipal offices in front and the theatre behind, connected by the dress circle staircase. The theatre originally seated up to 1,350 adults and could be used for either opera or theatre. From 1919 to the 1950s it was converted for use as both a theatre and cinema.
The present building was built on the east side of Sloane Square, replacing the earlier building, and opened on 24 September 1888 as the New Court Theatre. Designed by Walter Emden and Bertie Crewe, it is constructed of fine red brick, moulded brick, and a stone facade in free Italianate style. Originally the theatre had a capacity of 841 in the stalls, dress circle, amphitheatre, and a gallery. Cecil and Clayton yielded management of the theatre to Mrs.
The auditorium seating was removed when the theatre closed, but most of the Dress Circle seats remained. In 1973, Empire Theatre Pty Ltd sold the Empire to two Toowoomba businessmen. The front shop additions were erected in 1973-74, and the building was occupied for about a year by Waltons Pty Ltd, a departmental retailer. In 1975 it was acquired by the Queensland Government for Technical College purposes, and has been used more recently as a TAFE facility.
Maggie Oliver (14 December 1844 – 21 May 1892) was an Australian actor and comedian. According to the Evening News Supplement, she was the most popular Australian actress of her time, saying: :She was the most popular Australian actress of these latter days – the darling alike of dress circle, stalls, pit, and gallery. Who does not remember her joyous laugh on the stage? and let me here remark that it is not everyone who can laugh or cry "to order".
The new theatre was named the Theatre Royal and Opera House. It was constructed of brick with stone dressings and comprised an orchestra pit, stalls, a dress circle of three rows, an upper circle, which had the unusual feature of its own retiring rooms, and a very large gallery which allowed for unobstructed views. The entrance façade was built in the classical style with three wide bays of giant pilasters."Matcham's Revills'" by Michael Sell; Wilmore, p. 62.
Lee worked on a number of other musical projects before returning to the stage, including BBC's "The Sound of Musicals". In 2008 he recorded a song for the CD Act One – Songs From The Musicals Of Alexander S. Bermange, an album of 20 new recordings by 26 West End stars. It was released in November 2008 on Dress Circle Records. In 2008 Lee voiced the part of Max, in the British Disney Channel cartoon series Famous 5: On the Case.
"Swash- buckling Savoy curtain-raiser", Sheffield Telegraph, 1 August 2008 W. J. MacQueen-Pope commented, concerning such curtain raisers: :This was a one-act play, seen only by the early comers. It would play to empty boxes, half-empty upper circle, to a gradually filling stalls and dress circle, but to an attentive, grateful and appreciative pit and gallery. Often these plays were little gems. They deserved much better treatment than they got, but those who saw them delighted in them.
An extensive refurbishment was undertaken in the latter half of 2009 which improved public areas and increased capacity with new seating and boxes reinstated at dress circle level. In 2019, Cameron Mackintosh announced that the original production of Les Misérables would close on 13 July 2019 while the theatre underwent a major restoration, but would return in a new production from 18 December 2019, when The Queen's Theatre would be renamed as The Sondheim Theatre in honour of composer and lyricist Stephen Sondheim.
It would play to empty boxes, half-empty upper circle, to a gradually filling stalls and dress circle, but to an attentive, grateful and appreciative pit and gallery. Often these plays were little gems. They deserved much better treatment than they got, but those who saw them delighted in them. ... [They] served to give young actors and actresses a chance to win their spurs ... the stalls and the boxes lost much by missing the curtain-raiser, but to them dinner was more important.
It would play to empty boxes, half-empty upper circle, to a gradually filling stalls and dress circle, but to an attentive, grateful and appreciative pit and gallery. Often these plays were little gems. They deserved much better treatment than they got, but those who saw them delighted in them. ... [They] served to give young actors and actresses a chance to win their spurs ... the stalls and the boxes lost much by missing the curtain- raiser, but to them dinner was more important.
It would play to empty boxes, half-empty upper circle, to a gradually filling stalls and dress circle, but to an attentive, grateful and appreciative pit and gallery. Often these plays were little gems. They deserved much better treatment than they got, but those who saw them delighted in them. ... [They] served to give young actors and actresses a chance to win their spurs ... the stalls and the boxes lost much by missing the curtain-raiser, but to them dinner was more important.
The Grand Empire Theatre, designed by architect Douglas Salier, was opened by the Hon. J. W. Evans on 31 December 1910 in the presence of the Governor of Tasmania, Sir Harry Barron, and Lady Barron. The opening night was also attended by the Premier, Sir Elliott Lewis and many other Hobart notables. The theatre, which took less than six months to build, was designed to seat 1,000 in the stalls and pit, with a further 500 in the dress circle.
It would play to empty boxes, half-empty upper circle, to a gradually filling stalls and dress circle, but to an attentive, grateful and appreciative pit and gallery. Often these plays were little gems. They deserved much better treatment than they got, but those who saw them delighted in them. ... [They] served to give young actors and actresses a chance to win their spurs ... the stalls and the boxes lost much by missing the curtain- raiser, but to them dinner was more important.
This estate was roughly two-thirds of the modern suburb of East Ryde. The 1926 subdivision plan clearly shows the influence that the promised railway had on this development. In larger typeface than 'The Dress Circle Estate' are the words 'Eastwood–St Leonards New railway' - "60 choice elevated lots overlooking the beautiful Lane Cove River... close to a proposed station on the new electric railway from Eastwood to St Leonards". There were two roads indicated – Twin Road and Mary Avenue.
It would play to empty boxes, half-empty upper circle, to a gradually filling stalls and dress circle, but to an attentive, grateful and appreciative pit and gallery. Often these plays were little gems. They deserved much better treatment than they got, but those who saw them delighted in them. ... [They] served to give young actors and actresses a chance to win their spurs ... the stalls and the boxes lost much by missing the curtain- raiser, but to them dinner was more important.
"Swash-buckling Savoy curtain-raiser", Sheffield Telegraph, 1 August 2008 W. J. MacQueen-Pope commented, concerning such curtain raisers: :This was a one-act play, seen only by the early comers. It would play to empty boxes, half-empty upper circle, to a gradually filling stalls and dress circle, but to an attentive, grateful and appreciative pit and gallery. Often these plays were little gems. They deserved much better treatment than they got, but those who saw them delighted in them.
It would play to empty boxes, half-empty upper circle, to a gradually filling stalls and dress circle, but to an attentive, grateful and appreciative pit and gallery. Often these plays were little gems. They deserved much better treatment than they got, but those who saw them delighted in them. ... [They] served to give young actors and actresses a chance to win their spurs ... the stalls and the boxes lost much by missing the curtain-raiser, but to them dinner was more important.
"Swash-buckling Savoy curtain- raiser", Sheffield Telegraph, 1 August 2008 W. J. MacQueen-Pope commented, concerning such curtain raisers: :This was a one-act play, seen only by the early comers. It would play to empty boxes, half-empty upper circle, to a gradually filling stalls and dress circle, but to an attentive, grateful and appreciative pit and gallery. Often these plays were little gems. They deserved much better treatment than they got, but those who saw them delighted in them.
"Swash-buckling Savoy curtain-raiser", Sheffield Telegraph, 1 August 2008 W. J. MacQueen-Pope commented, concerning such curtain raisers: :This was a one-act play, seen only by the early comers. It would play to empty boxes, half-empty upper circle, to a gradually filling stalls and dress circle, but to an attentive, grateful and appreciative pit and gallery. Often these plays were little gems. They deserved much better treatment than they got, but those who saw them delighted in them.
"Swash-buckling Savoy curtain-raiser", Sheffield Telegraph, 1 August 2008 W. J. MacQueen-Pope commented, concerning such curtain raisers: :This was a one- act play, seen only by the early comers. It would play to empty boxes, half- empty upper circle, to a gradually filling stalls and dress circle, but to an attentive, grateful and appreciative pit and gallery. Often these plays were little gems. They deserved much better treatment than they got, but those who saw them delighted in them.
The 1921 interior is in a unique simple "modern classical" style of pilastered walls and panelling. The latter is "recilinear" with the exception of small circular panels on the dress circle balcony above frieze of Greek key pattern. The place has strong or special association with a particular community or cultural group in New South Wales for social, cultural or spiritual reasons. The Victoria has been an important cultural, entertainment and social facility for the residents of Newcastle for around 80 years.
The building now occupied by the National Theatre was built in the Beaux Arts style as a 3000-seat cinema and opened in 1920 as the Victory Theatre. In 1971 Hoyts (a company that operates movie theaters) offered the company the Victory Theatre for conversion to a live theatre and rehearsal spaces. The current theatre consists of the original Victory dress circle extended with the addition of a sizeable stage and a fly tower. The original stalls were converted into five studios for drama, opera and ballet.
Eight private boxes, four on each side of the stage and each accommodating six people, rounded out the seating, the box seats furnishing the most elegant and expensive accommodations in the house. At the time the theatre opened in 1871, seating in the family circle cost fifty cents and the dress circle cost a dollar. In the lower auditorium, parquet seating, inconveniently close to the stage, cost seventy five cents while the parquet circle cost a dollar fifty. The box seats cost ten dollars.
Abner Keeny, said that about 360 people purchased tickets for the dress circle and about 250 people in the parquet and parquet circle."Holding Capacity" Brooklyn Daily Eagle December 8, 1876 page 2 column 8 Edward B. Dickinson, a patron in the middle of the parquet about five rows from the stage, thought the auditorium floor was not more than half full. Charles Vine, high in the family circle, thought it was "one of the biggest galleries" he had seen in a long time.
He points out that she name-drops Brady, which identifies her as an "insider." The other article he found by a woman was "Alice Rix at the Veriscope" from the Examiner Sunday Magazine.Examiner, July 18, 1897, p. 72 Alice Rix, known for a particular brand of "sob sister" journalism (along with Nellie Bly and Dorothy Dix), claimed that when she viewed the film at the Olympia Theatre, she counted only sixty women in an audience of a thousand, and found the dress circle empty.
It has technological significance for the use of riveted steel girders in the construction of the Dress Circle, and retains evidence of theatre lighting and film projection technologies of the interwar period. The place is important because of its aesthetic significance. The Empire Theatre is an outstanding example of Art Deco theatre architecture in Australia, exhibiting fine exterior and interior Art Deco detailing of aesthetic importance. The building makes a major contribution to the Neil Street streetscape, and is a Toowoomba icon and landmark.
The Lyric Theatre opened on 31 March 1911, at 749 George Street, Sydney, between Valentine Street and Ultimo Road. Built by the American entrepreneur and film director James Dixon Williams, its seating provided for 865 in the stalls, 400 in the dress circle and 650 in the gallery. With its three tiers of seats in the gallery, at the time it was regarded as the largest and tallest cinema in Sydney. In 1924 the theatre was refurbished and opened as the Lyric Wintergarden Theatre.
The return walls are unusual in that they step upwards from the facade meeting the roof over the auditorium. The decorative elements are relatively intact although the metal awning appears to be a later addition and some of the blind windows have been opened for later screens and vets. The interior dress circle, circle foyer, proscenium, stage, fly tower, dressing rooms, ceilings and walls of the Victoria are all intact. Only the vestibule (lower foyer) and back stalls area has been subject to alteration for retail purposes.
The theatre was built in 1887, near Fountain's Court, on the site of a former public house, the Old Coal Hole, and was designed by Walter Emden for the publican, Charles Wilmot and a Dr Web. The theatre was built to accommodate 800, seated in pit and stalls, balcony and a dress circle. Fountain's Court was named for 'Fountain's Tavern', where the Fountain Club met - formed by Robert Walpole's political opponents. In 1826, Edmund Kean, the actor, founded a late supper club here, known as the 'Wolf Club' for carousing.
The uppermost opening into masonry on the extreme right, above the man with the top hat, marks where the gallery stairs continued down to street level. Between this opening and the south wall ran a short, north–south corridor. Inside the lobby, Sweeny, District Engineer Farley and his firemen, Cain, and the other police officers eventually cleared the dress circle stairs to work their way up to the doors, where there was the connecting doorway to the family gallery stairway. They tried going up to the family gallery but were stopped by thick smoke.
The ceiling represents the north > polar regions, England is in the gallery, the tropics in the upper circle, > Australia on the dress circle and the Antarctic in the pit. > A myriad computers are at work upon the weather of the part of the map where > each sits, but each computer attends only to one equation or part of an > equation. The work of each region is coordinated by an official of higher > rank. Numerous little "night signs" display the instantaneous values so that > neighbouring computers can read them.
Matcham made additional alterations to the theatre in 1902 which included reducing the seating capacity to 1,769 (stalls 57, dress circle 103, balcony 122, fauteils 137, upper circle and amphitheatre 300, pit 518, gallery 500, private boxes 32) and placed four classical statues representing Tragedy, Comedy, Music and Dance on top of the building. The theatre re-opened with Merrie England on Coronation Day, 1902. In 1907 a new ventilation system was fitted which made the Prince's one of the grandest and most comfortable of all the provincial venues.
The Oxford Companion to American theatre (2004) The original theatre was demolished and rebuilt in 1889. It was destroyed in the San Francisco earthquake of 1906. The former site (north side of Bush Street, between Kearny and Grant) is now a California Historical Landmark, with a historical marker commemorating the theatre and its artists. The original theater encompassed 165 feet of frontage, 117 feet in depth, resting on 4 1/2 foot foundation walls; a handsome building with a dress circle, gallery and 51 foot ceiling space in the interior auditorium.
The show played at the Olympia Theatre in Dublin and the Everyman Palace Theatre in Cork. She was the winning contestant on the ITV reality TV show Grease Is the Word. As a result, she played the lead female role of Sandy in the West End production of Grease with Danny Bayne beginning in August 2007. In 2008, McFadden recorded two songs for the CD Act One – Songs From The Musicals Of Alexander S. Bermange, an album of 20 brand new recordings by 26 West End stars, released in November 2008 on Dress Circle Records.
In 2008 James-Ellis recorded a song with the Wicked actress Alexia Khadime for the CD Act One – Songs From The Musicals Of Alexander S. Bermange, an album of 20 brand new recordings by 26 West End stars, released in October 2008 on Dress Circle Records. He also recorded the song "Uptown Girl" along with Daniel Boys and Keith Jack, on the John Barrowman's album "Music Music Music". Ben featured with other members of the Hairspray cast on Michael Ball's "Past and Present" Album, singing "You Can't Stop The Beat" from the hit show.
The fashion in the late Victorian era was to present long evenings in the theatre, and so producer Richard D'Oyly Carte preceded his Savoy operas with curtain raisers such as Quite an Adventure.Lee Bernard. "Swash-buckling Savoy curtain-raiser", Sheffield Telegraph, 1 August 2008 W. J. MacQueen-Pope commented, concerning such curtain raisers: :This was a one-act play, seen only by the early comers. It would play to empty boxes, half-empty upper circle, to a gradually filling stalls and dress circle, but to an attentive, grateful and appreciative pit and gallery.
On the opposite side of the building the south-west elevation is similarly detailed with three exit doors and five windows as well as a door to the kitchen at its western end. A later concrete block addition that contains toilets is attached to the exterior of the original building. The rear elevation facing a service lane is lined with ripple iron. Internally the theatre retains many of its early features, including entrance foyer, auditorium, projection-room above the entrance foyer, mezzanine "dress circle", stage, seating and dressing rooms.
This material has been used extensively on the walls and ceilings inside the auditorium for its sound absorption qualities. Perforated fibrous plaster vents are located down the centre of the auditorium ceiling that connect to five ridge vents. The Dress Circle is supported on a riveted truss that spans supported at the side isles by steel stanchions and provides an uninterrupted view of the stage. Six cantilevered girders extend beyond the line of the truss and connecting girders slope back from it to the rear wall of the auditorium.
A border of flowers, richly embossed in gold, runs round the dress circle, and has a tasteful and elegant effect. The panels of the boxes in the front of the first circle are ornamented by designs, in the style of Watteau, placed in gilded frames of fanciful workmanship. … The front of the slips and gallery are distinguished by neat gold ornaments, relieved by handsome medallions. The proscenium, which, like that of Covent-garden, is shell-form, is painted in compartments, where the loves and graces are depicted gaily disporting.
The fashion in the late Victorian era was to present long evenings in the theatre, and so producer Richard D'Oyly Carte preceded his Savoy operas with curtain raisers such as Dora's Dream.Lee Bernard. "Swash-buckling Savoy curtain-raiser", Sheffield Telegraph, 1 August 2008 W. J. MacQueen-Pope commented, concerning these curtain raisers: :This was a one- act play, seen only by the early comers. It would play to empty boxes, half- empty upper circle, to a gradually filling stalls and dress circle, but to an attentive, grateful and appreciative pit and gallery.
The fashion in the late Victorian era was to present long evenings in the theatre, and so producer Richard D'Oyly Carte preceded his Savoy operas with curtain raisers such as The Spectre Knight.Lee Bernard. "Swash-buckling Savoy curtain-raiser", Sheffield Telegraph, 1 August 2008 W. J. MacQueen-Pope commented, concerning such curtain raisers: :This was a one- act play, seen only by the early comers. It would play to empty boxes, half- empty upper circle, to a gradually filling stalls and dress circle, but to an attentive, grateful and appreciative pit and gallery.
The fashion in the late Victorian era was to present long evenings in the theatre, and so producer Richard D'Oyly Carte preceded his Savoy operas with curtain raisers such as Uncle Samuel.Lee Bernard. "Swash-buckling Savoy curtain-raiser", Sheffield Telegraph, 1 August 2008 W. J. MacQueen-Pope commented, concerning such curtain raisers: :This was a one-act play, seen only by the early comers. It would play to empty boxes, half-empty upper circle, to a gradually filling stalls and dress circle, but to an attentive, grateful and appreciative pit and gallery.
The fashion in the late Victorian era was to present long evenings in the theatre, and so producer Richard D'Oyly Carte preceded his Savoy operas with curtain raisers such as A Private Wire.Lee Bernard. "Swash-buckling Savoy curtain-raiser", Sheffield Telegraph, 1 August 2008 W. J. MacQueen-Pope commented, concerning such curtain raisers: :This was a one-act play, seen only by the early comers. It would play to empty boxes, half-empty upper circle, to a gradually filling stalls and dress circle, but to an attentive, grateful and appreciative pit and gallery.
The theatre contained a dress circle and several private boxes with upholstered seating, and canvas seats and forms, or long benches, were provided in the stalls. The auditorium was constructed of timber with a galvanised iron roof, but the Mediterranean-styled decorative facade was of brick and stucco. The entrance was flagged by brick columns clad with glazed tiles and opened to a lobby wide by deep. The design also incorporated two small shops fronting the street, either side of the entrance, and employed the first cantilevered awning in the district.
Most of the ground floor seating consists of canvas, deckchair-type seating with one row of tip-up seating located against the back wall. The balcony upstairs has a raked, stepped timber floor, with each row of seats occupying a different level. The seating in the front three rows is timber and upholstered fixed seating, there are then two rows of canvas seats and a final row of "dress circle" seating at the back. The projection box if located at the rear of the balcony in a space enclosed with fibro- cement panelling.
In 1916, films were shown at the theatre for the first time, as part of variety programmes mixing live and filmed performance. In 1923, it became a cinema full-time, and capacity was reduced from 1,143 to 1,010 seats, but it retained, as it still does, its original theatre interior, consisting of stalls and two upper tiers (a dress circle and a gallery). However, the boxes at each side of the auditorium, next to the stage, were removed in 1931. The stage was blocked off, and the cinema screen is placed within the proscenium arch.
There is, at present a "hole-in-the-wall" ticket window in the wall of the stairway. Plain wide double doors provide access to the stalls level of the auditorium. The stalls floor is timber, flat for dancing and indoor sports activities (from 1978). The portion of the dress circle cantilevered over the back stalls is supported by a deep, plated rolled steel joist (T&PH; files), spanning some 12 metres or further if the walls to the two rooms each side of the back stalls are not structural.
Star Theatre under construction in Darwin The partially open air theatre was built by Snell and Gordon, the company of well-known Darwin builder Harold Snell, in the 1920s. The theatre's design was innovative at the time, in particular the roof structure, which Snell had studied in England. Only the rear rows at the back and upstairs dress circle was covered by a roof. The stage was on wheels to be moved for boxing matches and the floor was concrete in anticipation of future roller-skating events and social dances.
In 1886, a company of prominent men including the mayors of both Newcastle (Mr J. Creer) and Maitland met in Newcastle and agreed to buy the theatre. The theatre was extensively rebuilt in 1890. The architect in charge of the 1890 rebuilding was Mr. James Henderson, who elaborately furnished the three level auditorium in neo-Grecian theme. A large stage house and a small first class hotel were also incorporated in the second theatre that could seat 1,700 people. The stalls were steeply sloped and the dress circle could accommodate 500 people.
The Opera House was opened by Lillie Langtry on 9 July 1900, who performed in the first play produced in the new premises, "The Degenerates". The new building was modern and spacious compared to its predecessor. The stage was 40 feet deep and 60 feet broad with overhead room of 54 feet, capable of receiving scenery from Drury Lane, London. There were two boxes, one on each side of the stage, level with the dress circle: on the right "The Governor's Box" and on the left "The Bailiff's Box".
They are believed to comprise one of the largest mural installations of modern times. Stella also designed the decorative fronts of the boxes and balconies and the decorative end-caps of the each seating row. The theatre has seating on three levels—orchestra, dress circle and balcony—with elevator access to all levels and is configured as a traditional 19th century English proscenium theatre. Further, the entire theatre is barrier-free, enabling wheelchair access to all levels — not a common occurrence in Toronto considering the age of many of its theatres.
In September 2005 the Theatre was closed to begin a £5.3million restoration project to restore the building to its original 1819 configuration and decorative scheme. Following an extensive research period, architects Levitt Bernstein, in collaboration with theatre staff and the National Trust, drew up plans to restore the historic building to as close to its original design as possible. Previous restorations to the building had removed the original Georgian entrances to the pit as well as its distinctive Georgian forestage. The boxes had also been removed from the dress circle and the seating layout changed throughout the building.
It was fitted with hard wooden benches, and the admission to it was half-price. Here the bachelors, critics, and wits of the day found their places. Drinking bars, united with apple, pie, and peanut stands, were connected with the pit and the upper tier of boxes. The old Park Theatre As Frances Trollope has truly pictured, it was not an uncommon thing to see men rise on the front rows of the dress-circle in their shirt-sleeves, and between the acts turn their backs to the audience, while their better-halves sat munching apples and peeling oranges.
The suburb was named and bounded on 28 August 1982. Throughout the 1980s, Collingwood Park was marketed as, "The Dress Circle Suburb of Ipswich". The suburb's name implied a "leafy" residential area which differentiated it from nearby Redbank, the site of several collieries and industries: a map, c1940, showed the area as devoid of any development apart from a perimeter road. Notable events which drew attention to the area included 13th Australian Scout Jamboree, 1982–83, the annual Collingwood Park fun run and the 1983 radio 4BK house giveaway and concert held on the site of the current state school.
Eventually a waterproof cloak was found for her and she was driven to her rooms at Pierrepoint House."The Calamity" Brooklyn Eagle December 6, 1876 page 4, column 5 Despite the large number of people inquiring after other people, the received wisdom of the wee morning hours was that most, if not all, people had gotten out alive. Among the police and fire fighters, this idea stemmed largely from the last searches of District Engineer Farley: no one had been seen in the parquet or parquet circle. No one had been seen in the dress circle.
The front of house sound position is somewhat unusually located at the rear of the Dress Circle. Towards the rear of the stalls, there is 41 mm unistrut Product 221-724 fixed to the ceiling to facilitate the hanging delay speakers. In the Gallery there is also a winch bar across the full width of the auditorium to again facilitate the hanging of delay speakers. The theatre now benefits from a lift to bring up 45' trailers and tractor units up to stage level, which is three floors below street level at the rear of the theatre.
In 2008 he recorded a song for the CD Act One - Songs From The Musicals Of Alexander S. Bermange, an album of 20 new recordings by 26 West End stars, released in October 2008 on Dress Circle Records. He can be heard on the recent Alexander S. Bermange CD singing "More than a Memory" and more. In late 2008 he released his debut album entitled "Sentimental Heart", with all of the songs written, performed and produced by Tompsett. Tompsett also recorded the song 'We Are Not Alone' on Terry Pratchett's 'Only You Can Save Mankind', which was released on 23 November 2009.
The Sunderland Empire Theatre is a large theatre venue located in High Street West in Sunderland, North East England. The theatre, which opened in 1907, is owned by City of Sunderland Council and operated by Ambassador Theatre Group Ltd, on behalf of Sunderland Empire Theatre Trust. The theatre is one of the largest venues in the North East, with 1,860 seats and the capacity to accommodate 2,200 when all standing positions are occupied. The auditorium is also one of the few remaining in the UK to have four tiers, namely the Orchestra Stalls, the Dress Circle, the Upper Circle and the Gallery.
He played the role alongside Sierra Boggess when the sequel opened in London in March 2010. In 2008, Karimloo recorded the song "I Only Wish for You" with Shona Lindsay and Dianne Pilkington for the album Songs from the Musicals of Alexander S. Bermange, an album of 20 new recordings by 26 West End stars, released in November 2008 on Dress Circle Records. In 2009, Karimloo participated in the recording of new musical album called Bluebird, by Gareth Peter Dicks. Bluebird is a dramatic World War II musical, in which he played American serviceman Ben Breagan.
Development progressed during the 1960s and housing construction first occurred north from Walter Road and Grand Promenade, with St Andrews, Montclair Rise and Dress Circle Estates being the last major areas to be developed in the early 2000s. The character of housing ranges from modest post-war homes to large, modern two storey dwellings. Dianella was Perth and Western Australia's media centre; with three of Perth's major commercial television stations based there until Channel 7 relocated to Osborne Park in 2015. Channel 9 and Channel 10 left the suburb in 2016 and are now in St Georges Terrace and Subiaco, respectively.
The entire area was once turpentine-ironbark forest. The area that is now East Ryde was originally known as the 'North Ryde Dress Circle Estate', as it was part of North Ryde before forging its own identity as a suburb. East Ryde is bounded by Cressy Road, Coxs Road, the Lane Cove River, Strangers Creek and Buffalo Creek. It was originally part of the Field of Mars Common. This was an area set aside by Governor King in 1804 for breeding stock owned by the early settlers whose allotments were inadequate to sustain their sheep and cattle.
In 2012 with theatrical producer and entrepreneur James Yeoburn he founded the international theatre production company United Theatrical.United Theatrical – the official website The pair had worked a year earlier on a concert to celebrate the contribution to the industry made by Dress Circle, a theatre shop in London's Covent Garden selling original cast albums, musical scores and memorabilia. The shop, which had been supporting the industry for 33 years before its closure, was facing financial difficulty. A series of events were planned throughout July and August 2011, with some taking place at the shop and others around London.
Unfortunately the build was subject to a number of alterations that resulted in extra time and expense. One of the alterations was to heighten the auditorium walls by 4 feet 6 inches to allow for the possible later inclusion of a dress circle. This brought about changes in decorative treatments of the main ceiling and proscenium.Georgia Standerwick, 2016 It is thought that other obstacles to the speedy construction of the theatre may have been posed by the Greek partners' competitor in the Bingra cinema trade, a Mr Victor Reginald Peacoke who was Mayor of the local Council at the time.
A little below the entablature is a row of seven windows. Two, each end, light the rear of the dress circle; the central three (the central one currently blocked out) are for the projection box. In size, they are all functional, but their composition, in relation to the whole facade was originally dependent upon the theatre sign, on a dark panel, with one lamp above, and bracketed lamps between the twin piers at each end. If the proportion of some of the windows may seem strange today, there was originally a unifying effect through the repetition of the same pane proportion and size.
This provided the necessary height for projection from the rear dress circle over the audience, and for an imposing proscenium. As a result, there is a sloping segment of the ceiling each side of the central flat section. It also meant that side walls could be lower than if a complete flat ceiling was designed, and of course, it was more economical, something of which Kaberry and Chard were well aware of (see K&C;, 1936). This technique, however, produced the risk of the extension of the upper chord beyond the lower chord (of the truss) deflecting and pushing the side walls out.
What has been confusing to observers of the interior are two elements of Art Deco style, and embellishments to the panels on the balustrade-front of the dress circle, and on the false side-of-stage walls. It is contended that the Art Deco dado moulding and centre-piece of side false- wall panels (and as a ceiling rose in the lobby) were added after construction. Art Deco decoration did not become apparent in theatres in Australia until after the Great Depression (i.e. from 1933 onwards) yet this theatre was designed in late 1928 to early 1929, being completed in October that year.
The corner and central motifs of the dress circle panels are of an impression of trellis-work over which is a spray of vine leaves. The central motif had an inverted shell-like light fitting affixed, as seen in 1954 photographs. These photographs depict a sheen in these panels that appears metallic. Blanche Heffernan (formerly Cummins), related that the decoration was "all gold".B.H. 2003 Peter Laurantus (in 2003) mentioned that his father, George, and mother worked hard together without employees to get the theatre up and running during the Depression (it commencing in New York only two weeks after opening the theatre).
The present curtains are blue for the stage and nothing in the archways. The former heritage adviser for Junee Shire Council, David Scobie, believes the present colouring of the false splayed walls and dress circle front was done at the time of the making of the film The Crossing (1990). A photo on the Theatres and Public Halls administration files, taken after it had become the JADDA Centre, shows a colour scheme of grey, white and blue (the dado moulding being blue). In The Crossing, for the dancing competition scene, the dado moulding is bright red and the walls white to off-white.
Late 1921 saw a major internal refurbishment costing 20,000 pounds, removing the upper balcony and small hotel, rebuilding the dress circle and making it more suitable for use as a cinema. The auditorium was redecorated by Artist Norman Carter with painted Grecian Murals of Dancing Nymphs. Architects for the refurbishment were Robertson and Marks who later designed the late ornate Prince Edward Theatre and the Bondi Beach Pavilion and builders were James Porter and Sons later builders for the Sydney Capitol, Regent and Melbourne's grand Regent theatres. Mr Will Herbert became the General Manager for northern district.
A dual-console Wurlitzer organ of style 270 was installed, the first to be built "west of Chicago", featuring 21 rows of pipes and a grand piano attachment and oboe horn. The organ was removed from the theatre in 1963, and subsequently installed in the Moorabbin Town Hall (now Kingston City Hall) by members of the Victorian Division of the Theatre Organ Society of Australia. In 1963, recognising the changing trends in attendance, cinema chain Greater Union converted now-oversized auditorium into two smaller cinemas. The Dress Circle balcony was blocked in, creating the upstairs Rapallo while the Stalls level was renamed the Forum.
The three-story building's auditorium was deep by wide, with a seating capacity of 727: boxes 88, parquet 344, dress circle 172, and balcony 123. Thomas Edison is reported to have personally worked on making it the first theatre lit entirely by electricity (not the first to use electric lights), and Louis Comfort Tiffany designed aspects of the interior. Not all new technologies lasted: for the first season the orchestra rode an "automatic elevator car" into the fly gallery to play in a gallery over the proscenium during performances, but the car was removed in the theatre's second year. Ticket prices initially ranged from $1 to $2.50.
W. J. MacQueen-Pope commented, concerning the curtain raisers: :This was a one-act play, seen only by the early comers. It would play to empty boxes, half-empty upper circle, to a gradually filling stalls and dress circle, but to an attentive, grateful and appreciative pit and gallery. Often these plays were little gems. They deserved much better treatment than they got, but those who saw them delighted in them ... they served to give young actors and actresses a chance to win their spurs ... the stalls and the boxes lost much by missing the curtain-raiser, but to them dinner was more important.
In April 2019, Marriner Group in partnership with the building's owners, the Victorian State Government and the Melbourne City Council, commenced a major refurbishment of the Regent Theatre auditorium. Alongside cosmetic upgrades including replica heritage pattern carpets and paintwork repair, the major construction component was an extension to the Dress Circle balcony, bringing it four meters closer to the stage in order to improve the relationship between audience and stage. Additional work was undertaken to improve the theatre design including a new seating layout and refined floor rake to improve sight lines to the stage. The project took eight months to complete and cost an estimate $19.4 million.
Elements more characteristic of a hall than a picture theatre were the flat, sprung timber floor, the lack of a dress circle, the inclusion of a supper room beneath the stage, and the lack of a theatre cafe. The Hibernian Hall screened films in competition with Roma's newly completed, 800 seat Capitol Theatre, likely designed by Brisbane cinema architect CE Humphreys. The Capitol, operated by RA Crawford, was erected and functioned as a cinema until destroyed by fire in 1989. That the town of Roma could support two picture theatres in the 1930s illustrates the popularity of film as family entertainment prior to the introduction of television.
The Metropolitan Opera Club is a private social club within the Metropolitan Opera House in New York. Founded in 1893 and incorporated in 1899, the club maintains its own dining room (designed by Angelo Donghia and later renovated by Peter Pennoyer) and boxes on the dress circle level of the opera house, and is open to its members for several performances a week during the opera season. Informally known as the "Opera Club", the club is independent of the Metropolitan Opera Association (MOA) (the official name of the Metropolitan Opera). Founded as a men-only club, the Opera Club has admitted women as full members since 1982.
For many years, a third-row seat in the dress circle was kept vacant in his honour on every opening night.Federici and the Princess Theatre in Melbourne, Theatricalia, accessed 16 June 2014Graeme Blundell, "Marvellous Melbourne", The Age, 27–28 August 2005 He was buried in Melbourne General Cemetery on 5 March 1888.Federici, Melbourne General Cemetery website, accessed 16 June 2014 The Federici Bistro in Melbourne is named after him."The Story of Federici", Federici Bistro, accessed 17 June 2014 His wife and children returned to England in June 1888 and moved in with her father, Luigi Finili, a plaster-figures-maker from Lucca.
At the south-eastern end of the auditorium furthest from the entrance doors is a hardwood stage, with a later stage area in front. The walls, balcony balustrade and ceiling of the auditorium are lined with v-jointed tongue and groove boarding and the external walls of the aisles are clad with flat sheeting. In the centre of the ceiling, a ventilation panel of timber lattice runs the length of the auditorium. The projection room, with walls and ceilings lined with flat sheeting and timber Battens is located over the entrance foyer with the mezzanine "dress circle" either side accessed via timber steps from the aisles.
The place is important in demonstrating a high degree of creative or technical achievement at a particular period. It has technological significance for the use of riveted steel girders in the construction of the Dress Circle, and retains evidence of theatre lighting and film projection technologies of the interwar period. The place has a strong or special association with a particular community or cultural group for social, cultural or spiritual reasons. The theatre has had an important and special association with Toowoomba as a major entertainment venue from 1911 to 1971, being particularly important in the development of film culture in the Toowoomba district.
The principal architect William Pitt was based in Melbourne, Australia, and much of the work was overseen by Wellington architect Albert Liddy. The opera house finally opened on Easter Saturday of 12 April 1914 to an evening performance by the American Burlesque Company, with a full seating capacity of 2141 in three levels of stalls, dress circle and gallery, including 50 box seats. The original seating upholstery was made and installed by the Wellington company Kirkcaldie & Stains, and the interior features fine plaster moldings and ornate dome. The building was designed with brick masonry outer walls with wooden floors and a timber-framed roof.
The Grand Theatre opened on Wednesday 20 September 1916, with a seating capacity of 1,300, with 1,000 in the stalls and 300 in the dress circle. It was opened by the Mayor of Perth, Frank Rea, with a charity fund-raising gala for wounded soldiers, which included a performance by a "Soldiers Orchestra" and the screening of A Yellow Streak, featuring Lionel Barrymore. The Edwardian styled theatre was built for entrepreneur Thomas Coombe, and designed by architect Richard Joseph Dennehy for a cost of £20,000. The main entrance fronted onto Murray Street, and led to a wide marble tiled and mirror-lined vestibule with a large marble staircase.
Furberg, 2000: 237,150,165 Certainly such simplicity preceded the arrival of the Modern Movement Expressionist designs of Eric Mendelsohn the most influential being the Universum Cinema, Berlin, of 1928 that so influenced Guy Crick and Bruce Furse in their Kings Theatres designs from 1935 (Thorne & Cork, 1994: introduction). ;The Interior: The front lobby is small with the principal stair to the dress circle to the right, against the sidewall. The original ticket box, (of glass front and sides above a small "counter", about 900mm cross, 1300mm deep and a shade over two metres high) was freestanding in the space.YKA, 2003 It was removed in 1978.
The architects have used an unusual method of "hiding" the beam by curving the ceiling down from the rear stalls wall to the soffit of the beam, then curving up again to the edge of the circle. The plan shape of the dress circle is typical of the work of the architects, Kaberry and Chard. In the early 1920s, their circle balustrade designs (with their straight central portions curved around each side to side boxes) were in plaster with swags of classical ornament and cartouches. From about 1927 they simplified the design to unadorned flat panelling (as at the Magnet Theatre, Lakemba demolished; Montreal, Tumut).
The dress circle front is not shown in the film but its current finish certainly appears to have been done by a scenic artist to provide an "antique" metallic impression. The dado moulding has returned to being blue (with earlier gold showing through) but the lower portions of the walls are cream. The ceiling and upper walls appear to be as when painted (for the JADDA). The integrity of the item has only been compromised by superficial alterations (such as change of windows and removal of light fixtures on the facade;; replacing side wooden shutters with windows; changing the original proscenium for a wider "plain" stage opening; and relining the ceiling).
The interior of the Hippodrome in 1913 The theatre was the largest for miles around with seating for about 1,000 people, which included 449 seats in the stalls, 258 seats in the dress circle, 272 seats in the balcony (originally this was benched) in addition to four boxes which seated four people in each. The proscenium was 24 feet wide, and the stage was 30 feet high and 22 feet in depth. The theatre was equipped with bars on all levels and eight dressing rooms. By March 1914, the Hippodrome was showing Kinemacolour films alongside the variety acts and, by the end of the 1920s, cinema shows were occasionally also being shown there.
A view of the chandalier in the main auditorium The stage and general seating in the auditorium Located in the city of Porto, it is flanked by other buildings, implanted on land with an accentuated slope from east to west; it is addorsed to the Olímpia Cinema (in the west) and various four-storey residential/commercial buildings in the west. Opposite coliseum is a modernist garage. The main auditorium has a capacity for a standing audience of 4000 people and 3000 seated, that includes the 1st and 2nd stalls, the dress circle, the boxes, upper circle, reserved and general gallery. There is also the smaller Ático Room, with capacity for 300 people, suitable for smaller performances, conferences and symposia.
The opening performance was The Lady of Lyons with Claude Melnotte played by Henry Loraine, an English provincial actor making his American debut, as a guest. He played leading parts in repertory eight nights. December 29 – January 22, a German opera troupe, starring soprano Bertha Johannsen and conducted by Carl Bergman, with Theodore Thomas as concertmaster, gave twelve performances, including Fidelio, Der Freischütz, Martha, The Child of the Regiment, Czar and Carpenter, and Daniel Auber's The Mason and Locksmith. Ticket prices were increased for the opera: one dollar for dress circle and a newly railed-off portion of the parquet. Forrest performed 23 nights, playing Sheridan Knowles' William Tell in addition to his other roles.
In 1951, Hoyts bought out the Ozone company, and in 1952 undertook a complete refurbishment of the Semaphore cinema, reopening on 20 November. However, box office takings suffered from the introduction of television, and Hoyts closed the cinema on 21 May 1960. The ground floor was used by the Semaphore Youth Club from 1966 to 1978, and in 1977 a smaller cinema, the Semaphore Cinema, was opened in what had been the upstairs dress circle by Alan and Fran Hall, operating until its closure in 1985. The building was vacant from 1985 to 1993, when the City of Port Adelaide restored the building as the Semaphore Library, which it has operated as ever since.
Seating in the Upper Circle was redesigned, now with an overall capacity of 1200, and the existing seats were stripped and rebuilt, an induction loop was installed for the hard of hearing and ventilation systems were completely renewed. The Dress Circle was given a much more spacious area for patrons to wait before entering the auditorium; while in the foyer new glass doors helped open the theatre to the public outside. In 1982 when the Grand re-opened it was one of the best-equipped theatres in the country. During the next ten years or so the Grand enjoyed many successes attracting the best touring companies and the theatre enjoyed by a loyal and supportive audience.
In 1974 sale of the theatre by Hoyts was proposed and with an unsure future, the site was classified by the National Trust of Australia (NSW) as an important example of a suburban picture palace. The Trust made the Roxy the second cinema in NSW< after the State Theatre in Sydney, to be placed on its Register.Noel Bell Ridley Smith & Partners, 2015, 13 Though demolition was prevented, in 1976 Hoyts tripled the cinema removing the original proscenium and splay walls and cutting off the dress circle from downstairs to form one cinema. The ceiling and walls of the upper part of the auditorium was retained while the remainder of the stalls was converted to two smaller cinemas.
In 2008 Robyns recorded a song for the CD Act One – Songs From The Musicals Of Alexander S. Bermange, an album of 20 brand new recordings by 26 West End stars, released in November 2008 on Dress Circle Records, and recorded the role of robot ThreeSix in a concept album of Laurence Mark Wythe's musical The Lost Christmas. He has previously recorded material for Whyte and in 2005 appeared in a showcase of one of the composer's musicals at Greenwich Theatre. In 2011 Robyns joined the cast of Spamalot as part of the UK Tour, performing the role of Sir Galahad. The show toured the UK throughout 2012, before a return to the West End at the Harold Pinter Theatre.
In 2008, Boys recorded a song for the CD Act One – Songs From The Musicals Of Alexander S. Bermange, an album of 20 brand new recordings by 26 West End stars, released in October 2008 on Dress Circle Records. His debut album So Close launched on 1 June 2009. It was mixed by Grammy award-winner (and cousin) Jerry Boys in early 2009. The penultimate track Always There features the backing vocals of friends and cast members (from Avenue Q). Boys also recorded the song My Brother's Eyes on Terry Pratchett's Only You Can Save Mankind, which was released on 23 November 2009, and recorded a version of I Know Him So Well with John Barrowman for his 2008 album Music Music Music.
Eventually permission was granted and Stoll built his new theatre on Chiswick High Road where some shops and the local smithy had to be demolished to accommodate it.Christina Pain, The Chiswick Empire – Brentford and Chiswick Local History Journal 10 (2001) The Chiswick Empire (1913) Located at 414 Chiswick High Road, the Chiswick Empire was designed by theatre architect Frank Matcham for Oswald Stoll. The interior was decorated in what was called a "Jacobean" style, similar in design to that of the London Palladium. With a large two storey centrally placed opening which contained an open verandah,The Chiswick Empire Theatre – Cinema Treasures website the auditorium could seat 1,948 – with 890 in the Stalls, 454 in the Dress Circle, and 554 in the Balcony and eight boxes.
In 2012 Yeoburn along with long-term friend, composer and producer Stuart Matthew Price, founded United Theatrical. The pair had worked a year earlier on a concert to celebrate the contribution to the industry made by Dress Circle (Theatre Shop), a theatrical shop in London’s Covent Garden selling original cast albums, musical scores and memorabilia. The shop which had been supporting the industry for 33 years before its closure was facing financial difficulty. A series of events were planned throughout July and August 2011 some that took place at the shop and others around London. The series concluded with a West End concert of peers, featuring a cast of 50 and an orchestra of 32, that took place at Her Majesty’s Theatre on 14 August 2011.
The inside of the theatre however underwent significant changes. The theatre's first major reconstruction occurred in 1938 under the supervision of local architectural firm Baxter-Cox & Leighton, headed by architect William T. Leighton, at a cost of £6,000. The renovations occurred over a four-week period; the dress circle was demolished and remodelled with the aisles between the seats widened, the supporting pillars in the stalls were removed, all the internal arches and cornices were bricked up, a new plaster proscenium installed, the upstairs landings enlarged to form a smoking lounge, new ticket boxes and glass doors added and a new internal new colour scheme in pastel shades introduced. The theatre also reportedly became the first in Australia to be illuminated entirely by neon lights.
The unusually glamorous effect is enhanced at the far end by several pendant pumpkin-shaped lanterns, placed at irregular intervals and heights. At each side of the divided staircase to the mezzanine lounge are smaller ticket boxes (no longer used) and doors to the stalls, in this theatre called the "lower circle", a term that had been peculiar to the rival company Wollongong Theatres but, in this case, adopted by the competitor for the whole ground floor seating area. The mezzanine lounge is a vast space underneath the Dress Circle whose exposed supporting beams thrust the sloping ceiling upward. The decor here has a pronounced oriental motif in the bamboo papered ceiling, the tropical pot plants, and rear-lit paper screens of the candy bar.
The tower was described as the finest piece of work constructed by any authority and at the time was the most expensive single structure ever to have been constructed in the Town of Ithaca. At the opening the President said it had always been the aim of the Water Board to afford facilities to provide a full water supply to all residents on elevated land and that in time he hoped to see all elevated lands graced by water towers. The power for the motor which hoisted the water into the tank was switched on by Mr J J Roberts who referred to Paddington Heights as the Dress Circle of Brisbane. The structure was designed by the Board's engineer and erected by the board's staff with day labour on a site above sea level.
In 1900, well-known expatriate American theatrical producer, James Cassius Williamson, took over the lease of the theatre and engaged architect William Pitt to supervise renovations. The stage was lowered by 60 centimetres and the stalls and orchestra pit raised by almost 30 centimetres. The Dress Circle was remodelled and new boxes added. Seats were re-upholstered, re-painting carried out and a new stage curtain and new stage lighting installed. The theatre, re-vamped and re-christened Her Majesty's Theatre in honour of Queen Victoria, re-opened with a production of Gilbert and Sullivan’s HMS Pinafore on 19 May. In 1909, after a private sound test, Dame Nellie Melba, by then an international star, declared that the theatre’s acoustics were "dead" and that she would not perform unless they were altered.
The episode premièred at the Royal Albert Hall before the interval of the Doctor Who Prom on Sunday 27 July 2008 and could be heard simultaneously on BBC Radio 3. It was also made available to watch during the interval on the official Doctor Who website and was shown on BBC One on 1 January 2009 as part of their showing of Doctor Who Prom. BBC Radio 3's recording of Doctor Who Prom including the audio of "Music of the Spheres" could be streamed via BBC iPlayer for a week after transmission. Freema Agyeman, who played Martha Jones in Doctor Who and Torchwood, introduced the episode, which was shown on a large screen above the stage and smaller screens around the edge of the Dress Circle in the Royal Albert Hall.
This once popular form of picture theatre construction and design in Queensland is no longer common. The place is important in demonstrating the principal characteristics of a particular class of cultural places. The Majestic Picture Theatre is a good example of a 1920s regional picture theatre adapted to Queensland's tropical climate. Constructed using local rainforest timbers, the building's interior and exterior intactness is notable, and the place is important in illustrating the principal characteristics of its type, including: the distinctive form and curved and stepped front parapet; the entrance foyer with early ticket box and display of early film projection equipment; the projection box located above the entrance foyer; the large auditorium with its ceiling ventilation panels, mezzanine "dress circle", and early seating; and the early stage and associated dressing rooms.
"What was desired, therefore, was a building so arranged that the élite of Parisian society might find every provision for their comfort without in any way trenching upon that of the ordinary public of the theatres of the Boulevard." Three large balconies were flanked either side by Corinthian pavilions with two levels of stage boxes crowned with highly ornamented circular pediments. The lower box on the left (C in the plan) was especially luxurious and was originally intended for the use of the Duke of Montpensier. It was connected by a short passageway to an adjoining circular salon (also C). The first tier was fronted with a balustrade and included dress-circle seating (B) in front of rows of boxes, each with its own small private sitting room behind it.
Dictionary of Sydney - East Ryde Hooker Rex retained the original name of the Dress Circle Estate and named the streets according to a theatrical theme. Some of the greatest Australian stars of stage and screen are commemorated in the street names of East Ryde. Personalities commemorated include opera singers June Bronhill, Ronald Dowd and Dame Nellie Melba (Melba Avenue was formerly an extension of Twin Road); actors Diane Cilento, Peter Finch, Cecil Kellaway, John McCallum, Michael Pate and Madge Elliott; comedians Kitty Bluett, Roy Rene and Gladys Moncrieff; songwriter, entertainer and radio broadcasting pioneer Jack Lumsdaine; author and playwright Steele Rudd; and Peggy Sager, prima ballerina. Heard Street (original name of Rene Street) was named after Henry Heard, a settler in 1858 and an alderman on the first Ryde Council in 1871.
Another London journal reported: :We are almost inclined to pronounce it the prettiest theatre in London. It is in the flat horse-shoe form, the stage being well within sight and hearing of every part of the auditorium. This comprises rows of comfortable and elegant stalls on the floor, with three tiers or circles extending nearly round the house as dress-circle, family-circle, and amphitheatre, respectively, and six private boxes on either side of the stage. The design of construction reflects the highest credit on Mr F. H. Fowler, the architect, and the chaste and elegant decorations of Mr K. W. Bradwell deserve great praise."Opera Comique", The Examiner and London Review, 5 November 1870, p. 713 The theatre opened under the name "Royal Opera Comique" on 29 October 1870.
The Wanganui Herald of the day recorded that "the building which is of wood, resting on massive concrete foundations, all the inside walls being plastered. In size, it compares favorably with any theatre in the colony, the auditorium measuring 60 ft by 60 ft, affording seating accommodation for over one thousand persons. The dress circle and orchestral stall seats are of the latest pattern, with cast-iron frames and upholstered backs, the latter to tip up, thus giving ample room for persons to pass in front of those sitting down…" The circle itself was supported from below by 18 cast iron pillars, painted to imitate marble, and which spoiled the view of patrons. Even today patrons avoid buying seats located too close to the pillars. Behind the circle was a reception and refreshment room”.
Music Hall and Theatre Review, Friday 11 October 1907 p14 col3 The Royal Hippodrome In December 1858 she performed in Pauline, or Three Murderers of De Burcy, and in Jane Brightwell, or The Beggar's Petition at the Royal Adelphi, Sheffield.University of Sheffield library, special collections and archives ref PE17: Hudson collection of early Sheffield playbills 1832-1858The play Jane Brightwell may have been based on the poem The Beggar's Petition by Thomas Moss In 1863 Alice Marriott and Robert Edgar took over the management of Sadler's Wells Theatre for six years. Edgar was nominally the manager, but Marriott undertook production, acting and management. For the winter season beginning September 1864, her improvements included providing chairs for the dress circle and allowing women to wear bonnets in the pit-stalls.
Portraits of the Chute Family of Bristol The Prince's Theatre in Bristol was built in 1867 for James Henry Chute (1810-1878) who owned the Theatre Royal in Bristol. The theatre was constructed at a cost of about £20,000 on the site of the former home of the Baillie family known as “The Engineers House”Prince's Theatre, Bristol: The Home of Pantomime - It's Behind You websiteDon Carleton, The Prince's of Park Row - Bristol Branch of the Historical Association The University, Bristol (1983) p. 2 to a design by theatre architect Charles J. Phipps, opening as the New Theatre Royal, Park Row on 14 October 1867 with a production of The Tempest. The theatre could seat 2,154 people with orchestra stalls, pit stalls for 800, dress circle balcony and gallery levels with 700 seats and eight private boxes.
The first floor accommodated the costume department and office. The theatre was officially opened by Premier of Queensland Frank Nicklin on 22 September.Brisbane Arts Theatre (1987). The First Fifty Years 1936-1986. . At around 3am on 31 May 1964, the theatre was heavily damaged by fire, caused by an electrical fault in the toilet block. Upon initial assessment of the damage, the theatre director and insurance representatives agreed that the building could be repaired within a matter of weeks; however, smouldering materials ignited a second blaze at 8.30am, which resulted in extensive damage throughout. The Commonwealth Trading Bank loaned £12,000 for the rebuilding of the theatre based on a new design by the initial architect, John Dalton. It included the addition of a dress circle, increased stalls capacity, a 25 ft deep stage and two dressing rooms under the stage.
International Tour (2009–2011) again as leading role Donna, the role interpreted by Meryl Streep in the film. She sang the theme tune of, and contributed material to, the popular alternative TV show Smack the Pony. After becoming involved in the revival of the Andrew Lloyd Webber and Don Black musical Tell Me On A Sunday, she met Denise van Outen with whom she co-wrote the show Blondes, in which van Outen performed at the Edinburgh Festival Fringe in August 2009 and in six preview performances at the New End Theatre in Hampstead. She promoted the album Love Songs (Dress Circle) courtesy of a show at the Soho Theatre in London's West End from 15 to 17 July 2010, and has also been involved in several musical projects including the 2010 memorial concert for the late Kirsty MacColl, who is remembered through Music for Cuba Fund.
Despite a small but steady stream of Jewish immigration from South Africa and China, specifically Kaifeng, the community in Dianella and surrounding suburbs is shrinking as many young people leave Perth, mainly heading to the larger Australian Jewish communities in Melbourne and Sydney. Dianella is also part of Perth's small Greek community, the second biggest hub for the Greek Orthodox Community in Perth, the biggest being in the centre of Northbridge. During the early 1990s, the Greek community of Perth wanted a Greek Orthodox College so that children of Greek origin could learn the Greek language and to be engaged in the Greek culture while going to school. Today, there is a Greek day school (St Andrew's Grammar) which is located in the St Andrews Land Estate and a small Greek Orthodox Church (Agios Nectarios) located in the northern sector of the suburb just next to the Dress Circle Land Estate.
There was only the usual number of policemen and watchmen in attendance, and the panic was such for a few moments that it seemed as if all the audience believed the entire building was in flames, and just ready to fall upon their devoted heads. In addition to what Mr. BOOTH said from the stage, Judge McCLUNN rose in the dress circle, and in a few timely remarks admonished them all to remain quietly in their places, and at the same time tried to show them the danger which would attend a pell- mell rush for the doors, and especially the uselessness of it, inasmuch as the theatre part of the building was known to be on fire. The presence of a squad of policemen soon after so reassured the audience that with a few exceptions, they remained until the close of the performance. The city was saved, as was The Winter Garden Theatre.
This sale fell through and the theatre was eventually sold to a consortium of six businessmen, headed by Gerard Heath. In 1949, the theatre was closed for refurbishment, including the installation of new seating. It was re-opened a year later, with the opening show being headed by the Billy Cotton Band Show featuring Alan Breeze in "Wakey! Wakey!". Following the refurbishment, the theatre could accommodate 1,440 with 339 in the orchestra stalls, 307 in the pit stalls, 214 in the dress circle, 148 in the rear circle and 400 in the gallery with another 32 in the four boxes. A lack of touring shows forced the theatre to close again in 1954; during this period, the opportunity was taken to further renovate the theatre, including enlarging the stage and rebuilding the dressing rooms. The theatre was offered to Plymouth City Council in 1956, but the council declined to purchase it. There were further closures for five months in 1956 and then in February 1959.
Jersey's previous main theatre, the Theatre Royal in Royal Crescent, Saint Helier, burnt down on 31 July 1863. It took two years for a new theatre to be built: Henry Cornwall opened the Royal Amphitheatre in Gloucester Street on 17 April 1865. This theatre was sold to Wybert Rousby in 1869, and became known as the Theatre Royal, and later as the Theatre Royal and Opera House. The Theatre Royal and Opera House was described in the Royal Almanac for 1890: "Its outside appearance has nothing specially attractive, but the interior is effectively decorated and decidedly comfortable (...) Open at frequent intervals throughout the year for the production of London and Parisian successes in comedy, drama, farce; also grand and comic opera rendered by specially organized companies." In the 1880s and 1890s prices were as follows: stalls seating for 2 shillings; dress circle seating for 3 shillings; pit seating for 1 shilling; gallery seating for 6 pence.
The decorative fibrous plaster work was carried out by Brisbane's Stucoid Modelling Co., terrazzo work by Melocco Brothers of Brisbane, and cork flooring and tiling supplied by the Decorative Tile Co., Brisbane. Joinery and furnishings were supplied by Toowoomba firms. Cemuro art stucco, a new product to Queensland, was supplied by Dyne & Co. of Brisbane. Billed as the "theatre supreme", the new Empire Theatre opened on 27 November 1933. It was tied into the Metro-Goldwyn-Mayer exhibition network in Australia, screening in the 1930s the films of Greta Garbo, Clark Gable, Jean Harlow, Jeanette MacDonald and Nelson Eddy, Laurel and Hardy, and the Flash Gordon serials. Empire Theatre construction, 2005 In 1942 during World War II, when the threat of Japanese air raids was a perceived reality, the large central ceiling light (affectionately dubbed the 'bomber' light) was removed as a safety precaution (locals fearing that a bomb would send a shower of glass onto theatre patrons below), and has never been recovered. Similarly, three fittings, in the same design, below the Dress Circle, were removed. The cinema was closed during parts of World War 2.
Soon after the opening of the new theatre Harold Philpott sold his share of the business to Dudley and Margery Gee, who exhibited under the name Paragon Pictures Company. The Paragon Theatre was now the only picture theatre in the Isis and regularly screened films and cartoons on Wednesday and Saturday nights, from 8 pm, for which seats could be reserved. The theatre was sold in 1949 to Peter and Mary Sourris of Gayndah, who changed the sound system, replaced the entrance gates with glass doors, closed one of the internal staircases to the dress circle, and replaced the forms with canvas seats. At this period the store run by Paul Cominos at the front of the theatre was closed. By 1960 the Sourris family had sold the theatre to Granville and Iris Knowles who constructed a ticket box and fitted a cinemascope screen, which closed the stage for concert use. The theatre was sold in 1962 to the Ricciardi family. The last film was shown in 1998. In 2007 Thomas Griffiths and Merissa Ricciardi (granddaughter of the 1962 owners) purchased the theatre and worked to repair and restore its failing elements with the aim of accommodating a range of community uses.

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