It must be a matter of considerable surprise to
many persons that the equestrian interest should
have, to all appearance, died out in the world of
public amusement. London once had its regular
equestrian theatre (Astley's), which was one of the
most prosperous under the Lord Chamberlain's
control; and it is with pleasure we announce to our
readers that a most spirited attempt will shortly be
made to revive the glories of the peaceful sawdust
ring. On the site of the Holborn Horse Bazaar is now
rapidly progressing towards completion an Amphitheatre which will vie with any building in London
in the beauty and elegance of its decorations, and its
admirable arrangements for the safety and comfort
of the public. The Royal Amphitheatre, under the
Management of Mr. Thomas M'Collum, a gentleman of great practical experience and excellent
judgment in such matters, will soon be thrown open
to the public on the evening of the 18th inst., when
the Directors may feel sure of seeing their commodious Theatre filled from ground floor to roof. We now
proceed to give our readers some particulars of the
building and its exceedingly satisfactory arrangement. The plan of Mr. Thomas Smith, the architect,
of Bloomsbury Square, is remarkably ingenious in
detail, and in the employment of the space at command he has most carefully studied the interests of
the Proprietors, the performers, and the public.
The building has three entrances. The Grand' is
wide and roomy, and arches are to support the
ceiling. Decorations in the Pompeian style are to
be used here, and an extremely handsome stone
staircase (carved balustrades) leads to the boxes.
The corridor at the back is entered through an
aperture, which can be closed with steel shutters, C
and the Amphitheatre will contain twenty-four
private boxes. A balcony follows the circle in front
of the boxes, and in it will be placed [?] damask-covered spring seats (numbered and reserved). The
pit, which is entered from the west side, is intended to accommodate 500 persons, and here again stuffed
seats will be supplied. The gallery, access to which
will be made from the east, is arranged to seat 550 persons. The front row will be cushioned and
reserved, and, like those lower in the building, will
turn back. The curve of the Amphitheatre is extremely imposing, and the ceiling will be constructed
of stretched and illuminated canvas, with a large
centre flower radiating from the sunlight. The
mouldings are by Jackson, of Rathbone Place, and
the decorations by Green and King, of Baker Street.
To mention these well-known names is at once to suggest that a cultivated and correct taste will regulate the embellishments of the Amphitheatre. All
the entrances are fireproof, and all the staircases
of stone; and especial care has been taken to provide
facilities for clearing the building in a few minutes,
should that necessity ever arise. Ventilation is promoted by an immense
air-shaft, which runs through
the entire structure, and the lighting has been en-
trusted to the well-known firm of Defries and Sons. A crystal sunlight, nine feet in diameter, and containing nine hundred and sixty burners, will illuminate the whole of the auditorium. The supply of
water will be copious, hydrants being fixed on every
floor. Refreshments will be procurable in the theatre.
The Box-office and Saloons will be under the supervision of Mr. Nugent, who is decidedly the right
man in the right place. At the back of the Pit will be C
found an enclosed Promenade fifteen feet in width.
Iron doors and steel shutters are the rule throughout
the establishment. There are two separate sets of
stables, and sixteen dressing-rooms, replete with
comfort, for the use of the double company of
equestrians and dramatic artists.
The Era, 5th May, 1867
We may, however, venture a little more into
the statistics, for the sake of supplying such of our
readers as are curious in those matters with a record
for future reference. The entire span of the Theatre,
which has a very elegant appearance, is seventy-six
feet in the clear - the whole length being 130 feet.
From box to box the width is sixty feet, and the
length from proscenium to box is sixty-eight feet.
In the centre of the house, and facing the stage, is
the Royal box, with an ante-chamber immediately
behind. The dress circle is arranged at the side,
where the private boxes are usually placed, and the -
private boxes (twenty-six in number) are in the
front of the house. In front of these boxes is a row
of stalls, calculated to hold two hundred occupants,
with folding seats, so as to gain additional space of one foot six inches. The pit is divided into
550 seats,
all numbered, with standing room for about 200 persons more. The amphitheatre stalls amount to
700, with 500 ordinary sittings, so that, when full,
about 2,000 spectators can be accommodated. The
arena is 120 feet in circumference. A drop curtain, effectively painted by Mr. Julian Hicks, and of a
classical design, tastefully sets off the proscenium
and the stage, though not very deep, is commodious
enough for the light dramatic entertainments which
are to be given in conjunction with equestrianism
Let us add that the builder intrusted with the carrying out of Messrs. Smith and Son's architectural
designs is Mr. Thomas Ennor, of Hardinge Street
Commercial road; that the seating is by Mr.
Henry Chandler, of Horse-Shoe Court, Clement's
Inn; the stage machinery, by Mr. Burkett, of the City of London Theatre; and the costumes, by Mr.
May, of the well-known establishment in Bow
Street.
The Amphitheatre thus efficiently prepared for the
reception of the public was last night filled by a fashionable audience, whose satisfaction with the
arrangements made for their reception was expressed
in the most unreserved manner. The performances
were likewise of a character which indicated the
intention of the management to take high ground
in this form of amusement, and the equestrian
company collected must certainly be regarded as the best for many a year seen in the Metropolis. Continental travellers well know the attractions in this
way offered at the Cirque de l'Impératrice of the
Champs Elysees, Paris; and there, as well as at
Vienna, Berlin, St. Petersburgh, Moscow, and
Constantinople, several of the equestrian, acrobatic
and grotesque artistes who last night made their
debut in the New Holborn Amphitheatre have already gathered several of the greenest laurels in
their respective wreaths of fame. The seats were all filled at eight o'clock, when the performance
commenced, and the occupants, as they rose in recognition of the usual loyal compliment of the National
Anthem, which had the double signification on this
night of inaugurating the new season of a new
Theatre, and celebrating the anniversary of her Majesty's birthday, obtained a yet more commanding view of the building. The survey from every
portion of the house was most satisfactory, and the early experience gained in this way of the facilities
afforded the visitors for moving from their places
without inconveniencing their neighbours elicited remarks which might have been listened to with
profit by the Managers of some of the older Theatres
of the Metropolis. The band, which is a very good
one, under the direction of Mr. Clemments, then
played the overture to tampa, and from that time
the scenes in the circle were continued for three hours with only an interval of ten minutes between
the two parts. The amusement of the audience was
ensured by some quaint quips supplied by Charlie
Keith, who, besides being distinguished through his extended professional career in all countries as the
'Roving English Clown', enjoys the special distinction of being 'Clown to the Prince Imperial of
France'. His entrée comique and a clever performance
with two chairs gained for him peals of acclamation,
whilst a leap through a paper hoop, in the course of
which he became mysteriously possessed of a long
night-gown, displayed equal ingenuity and dexterity. His continental travelling was illustrated copiously
by a free use of foreign phrases. The gymnasts, John,
Joseph, and Henri Delevanti, with other members of the 'family', exhibited some extraordinary somersault throwing, and the juggling act on horseback of
Joseph Delevanti, with which the programme commenced, was executed with singular neatness and
quickness. Balls, cups and balls, and daggers are
thrown and caught with marvellous precision. Mr.
Charles Abbott, the whimsical grotesque, is remarkable for a great deal of fun, in words as well as
action, and his hand-springs and somersaults are very cleverly performed. The feat of throwing
somersaults round the circus through a succession of
hoops especially excited the admiration of the spectators. Mr. Thomas Fillis, the Jester, who is
enriched with the reputation of being 'world-renowned', is of the class known as the
'Shakespearian Clown'. A speech, in which he introduced with tact
and taste the names of the various newspapers and periodicals, was very heartily applauded, and his
orations generally were full of humour. Madame
Rose Gerard Goudschmidt, who is the premiere
equestrienne of the Cirque Napoleon, performed gracefully a 'trick act' in the first part, which included
some astonishing flights over flags and through
paper balloons, about twenty of which were dashed
through without a single misadventure. Another agile
equestrienne is Madame Anne Bradbury (née Montero),
from the Cirque du Prince Imperial, who with her
husband executed on horseback a pas de deux, in which some surprising combinations were formed
with equal facility and elegance. Mdlle. Virginie
Lambert, also of the Cirque Imperial, a graceful rider in the style characteristic of the haute école,
commenced the second part with a pleasing illustration of the various movements to which she had
trained her docile steed. The lady, as with the rest
we have named, had to reappear, to respond to the
plaudits of the delighted spectators. From the Oriental Cirque, Constantinople, comes Mdlle. Juliette
Latunia, whose 'trick acts' are, with those of Mdlle.
Rochez, reserved for another occasion to minister to the entertainment of the patrons of the New Amphitheatre, but they claim mention as members of the
company. Mr. Alfred Bradbury, an equestrian of great skill and daring, afterwards performed a
wonderful 'jockey act', which is announced as being seen for the first time in England. The performer
leaps on his horse careering at full speed, and maintains his footing at an acute angle. The achievement
provoked enthusiastic plaudits from every part of
the house. Mons. Gerard Goudschmidt, of the
Cirque Napoleon, takes a very extraordinary 'tunnel
flight', through a series of connected hoops, eight-feet long, passing through them with a somersault
and alighting on the back of his horse whilst galloping
round the circle. This is another of the peculiar feats which will render these performances talked of for
their daring and dexterity. The eccentricity called 'Les Nains', by Messrs. J. Delevanti and F. Felix,
who go through a 'Lord Dundreary' kind of entertainment, with two admirably executed masks for
their respective figures, excited roars of laughter.
Mr. J. Powel and his four children are members of the company, and on another occasion will vary
the already excellent programme provided. The
Brothers Daniel, 'the well-known musical Clowns',
proved most efficient supporters of the entertainment,
and their violin performances in the most difficult
of positions, their imitations of Christy's minstrels,
and their simulated 'voluntary' on a church organ,
with only their fiddles to produce the deep sounds,
excited general admiration. They were thrice recalled to give fresh proofs of their talents. The
'fire'
horse, Zamor, was introduced by Mr. James Fillis,
professor of the haute école, and exhibited the effects
of the patient training he had received by mounting a
lofty pedestal on the stage, and coolly obeying the
word of command amidst the distracting influences
of a blaze of fireworks. This impressive tableau terminated the first part, and the applause given to this
extraordinary evidence of perfect control over the
animal was equally emphatic and deserved. A
promising feature of the entertainment is the 'Lightning Zouave Drill' of Captain Austin, a distinguished
American officer, who has never before appeared in
England. The rapidity with which he went through
a series of military evolutions with his rifle, both with
and without the bayonet, testified to the vast amount
of practice which had rendered the weapon so easy
to his hand. The feat he accomplishes is not to be
described in any terms which could convey an idea
of Captain Austin's marvellous dexterity, but the
plaudits he gained were proofs how thoroughly it
surprised and delighted the spectators. Mr. C.
Bradbury's changeable act of 'The Three Nations',
England, Ireland and Scotland, when he appears
at last as a young Highlander, must not be forgotten
as among the principal attractions of the programme. A new farce, called Grim Griffin Hotel; or,
The Best Room in the House, the joint production of
Professor Pepper and Mr. John Oxenford, wound
up the evening, and brought the new stage into
requisition. Mr. Richard J. Sheridan is a traveller,
named Jeremiah Mum, who has to encounter the
adventures in the Best Room', prepared for him by
the landlord, Bustler (Mr. Henry Lynn), and who is
waited upon by Seraphine, the landlord's daughter
(Miss Jeannette Macgregor); Pertzer, the chambermaid (Miss Sallie Turner), who sings
'The Bailiff's Daughter of lslington'; and Handzur, the boots (Mr. James Francis). The scene represents the
Bedroom
of a Country Inn, with a huge four-poster occupying
the centre of the stage, from which a gorilla, and a
succession of different personages, emerge after a fashion well known to those who have seen any
of
the various adaptations of the Polytechnic Cabinet
of Proteus. It was eleven o'clock when the farce cornmenced, and it is so evidently only intended to be
a
vehicle for optical effects, that it would be impertinent to criticise it from a literary point of view. Theu
dramatic portion of the programme will, doubtless,
receive fuller development in time. The whole of
the equestrian entertainments afforded the highest
satisfaction to the spectators, who liberally distributed their applause among the performers appeaning in the arena, and there can be no doubt a
very attractive place of amusement is added in the 'New Amphitheatre' to those already existing in
the
Metropolis.
The Era, 26th May, 1867
Grand Cirque, Holborn - Lessee Mr. C. Weldon. Daily at Two and Seven. Unequivocal success of this Mammoth Combination. The whole of the Metropolitan Journals describe the Entertainment as one of the most Delightful in London. The Baby Horsebreaker an astonishing success. Mdlles. Azella and Rosita still applauded to the echo in their Marvellous Mid-Air Flights. The most wonderful Equestrian, Gymnastic and Acrobatic Feats; highly trained Horses, Ponies, &c. Performances twice daily - in the Afternoon at 2.30, in the evening at 7.30. Open at Two and Seven. The splendid Gallery 6d.; Promenade 1s.; Pit Stalls 2s.; Boxes 3s.; Balcony Stalls 4s.; Private Boxes from £1 1s. children half price to all parts except Gallery. Box Office open at 10am. No fees or other charges.
advertisement from the Illustrated London News, January 1873
EDITOR'S NOTES:
Later names and incarnations of the venue were as the Holborn Amphitheatre, the National Theatre in 1873, The Royal Amphitheatre and National Theatre of Novelties, also in 1873, Newsome's Circus in 1874, the Grand Central Skating Rink in 1876-7, Hamilton's Royal Amphitheatre in 1878-9, Royal Connaught Theatre in 1879, the Alcazar in 1882, the Holborn Theatre in 1884 . It closed finally in 1886 and became the Holborn Central Hall. [see Lost Theatres of London by Raymond Mander and Joe Mitchenson for more information]
[also, I think, the Grand Cirque, ed.]