The Metropolitan Theatre, 267 Edgware Road, Paddington
Formerly - The White Lion Public House / Turnham's Grand Concert Hall / Turnham's Music Hall / The Metropolitan Music Hall / The Metropolitan Theatre of Varieties
See Also: Neil Sean's Memories of "The Met" Edgware Road
Above - The Metropolitan Theatre in a photograph published in the Illustrated London News, June 1972.
Originally
on this site was an inn called the White Lion Public House which dated
from 1524. In 1836 a Concert Room was constructed attached to the White
Lion, opening as Turnham's Grand Concert Hall,
and then in 1862 it was rebuilt, at a cost of £25,000, with a capacity of 2,000, and opened
on the 8th of December that year. On Easter Monday 1864 the building reopened again and this time with the new name of The Metropolitan
Music Hall. A Prospectus for this can be seen right.
Right - The Prospectus for the Metropolitan Music Hall - From The Morning Advertiser of March the 23rd 1864.
Arthur Lloyd is known to have performed at this Metropolitan Music Hall in 1867:- "11th July Attend Annie Adams "benefit" at the "Met". The "lion comiques" are out in force there - Leybourne, Vance, Arthur Lloyd, Nash, Fred French, Walter Laburnum et al . . . "Champagne Charlie" must be the Song of the Hour, though Lloyd's "Not for Joseph" runs a strong counter.' - From Peter Honri's 'John Wilton's Music Hall'.
In 1896 the Metropolitan music hall was radically restructured. Work began on the demolition of the old music hall in April and most of the building was removed, although parts of the exterior were retained.
The foundation stone for the new building, designed by the renowned Theatre Architect, Frank Matcham, was laid on Tuesday the 17th of August 1897.
The new Theatre would have a new and enlarged stage, new dressing rooms, and exits, and a completely new auditorium, all constructed within the walls of the old music hall, the exterior was also altered and a new facade constructed, see image below.
Above - A Sketch showing Frank Matcham's new Metropolitan Music Hall - From the Building News and Engineering Journal, February 25th 1898. The caption for this image reads 'This well-known variety theatre has just been rebuilt. It occupies the site of the previous "Metropolitan," which was erected in 1862 on the same parcel of land occupied by the "Old White Lion," a hostelry originally founded in 1524 when "Padynton" was but a small village on the Edgware-road. So late as the commencement of the present century Paddington numbered scarcely 2,000 inhabitants; to-day it is one of the largest Parliamentary divisions, with two members of Parliament and 120,000 population. Mr. C Gray Hill, of Coventry, was the builder of the present new house, and Mr. Frank Matcham is the architect. The construction throughout is fireproof.'
The ERA reported
on the rebuilding of the Met in their 21st of August 1897 edition saying:- 'The nobility and gentry of Paddington are well cared
for in the matter of entertainment, and the Met, as their local variety temple is called, has for many years applied the discoeuvrement so necessary to every class of the dwellers in this great metropolis.
Right - A programme for the Metropolitan Music Hall for the week ending Jan 6th 1894 - Kindly donated by Mr. John Moffatt. Details of the Acts in this programme can be seen in various parts below.
The neighourhood, however, has very much extended since the hall was first established, and for some time it has been felt by Mr Henri Gros, the latest proprietor of the Edgware-road establishment, that his property needed reconstruction.
More capital was called into the venture by the formation of a company, including Mr George Adney Payne and Mr Henry Tozer as directors, Mr Gros still retaining his connection with the hall as managing director; and, the preliminaries of the company having been settled, the demolition of the hall was determined upon. The plans for the building of a more palatial establishment were entrusted to Mr Frank Matcham, who has designed so many of our best halls both in London and the provinces...
Above - A Painting by George Richmond depicting the auditorium and stage of Frank Matcham's Metropolitan Theatre, Edgeware Road, London in 1897. The colours used are those described in the article from the ERA on this page, and the painting, with missing sections restored, is based on the semi derelict black and white photo of the auditorium shown further down on this page. Click for an Index to all of George Richmond's Paintings on this site.
...A part of the original structure has been preserved, but
the auditorium will be completely remodeled. It will contain a large
balcony and gallery, built on the cantilever principle, by the adoption
of which intervening pillars will be unnecessary. Private boxes of white
marble will be erected on the ground floor on either side of the stalls,
and the seating capacity of the house will be increased to 3,000.
Right - A painting of the exterior of the Metropolitan Theatre by Ian Graham who writes: 'I used to pass by the Met every day on the bus to school and was lucky enough to be taken there as a child a few times. Saddened to see its demolition, I painted this 'impressionist' sketch of the facade in about 1963 (aged 14). I wouldn't claim it's very good, but it does bring back memories: the lady on the trapeze over our heads; the conjurer producing an egg from my mouth on stage (not at 14, I hasten to add); and, best of all, wonderful comic songs. - Courtesy Ian Graham.
The stage will be enlarged and new dressing-rooms provided, while every attention is being paid to exits and precautions against fire. The decoration of the auditorium will be in Flemish style, and the walls of the entrance will be of white marble, surmounted by Indian ornamentation in rich colours. An entirely new façade is to be erected, additional premises having been purchased on the right of the former house. The work of reconstruction was undertaken three months ago, and it is hoped that the theatre will be completed and ready for opening by the end of November.'
The above (edited) text in quotes was first published in the ERA, 21st of August 1897.
Above - The Metropolitan Theatre in its later years - Courtesy Martin Clark.
The new Metropolitan Theatre was finished a month later than the previous article suggested and in fact opened on Wednesday the 22nd of December 1897 with a variety show. The ERA reported on the opening in their 25th of December edition saying:- 'A magnificent theatre of varieties, built with every modern device for comfort and safety, now rears its head. In the new Metropolitan, indeed, everything that architectural skill can plan, everything that artistic taste can suggest, and everything that modern luxury demands have been combined... The exterior is at once imposing and strikingly handsome, from the granite façade to the lofty minarets; and the comments of the crowd that stood opposite the hall on the night of the private view (the 17th inst.) were rough and ready testimonials certainly, but they were highly complimentary...
Above - Frank Matcham's 1897 rebuilt Metropolitan Theatre auditorium - Courtesy Peter Charlton.
...Mansfield
stone of a light terra-cotta colour has been chiefly employed in the
front elevation, and the carvings are liberal and artistic. Large spherical
and dome-shaped windows, in which stained-glass is effectively used,
help to break any unwelcome uniformity of line. Indeed, the whole design,
although thoroughly unconventional in treatment, is admirably balanced.
Massive and graceful wrought-iron and glass awnings shelter the wide
portals at both ends of the building.
Right - The Auditorium of the Metropolitan Theatre in its later years - Courtesy Martin Clark.
The principal entrance leads into a marble vestibule, paved with ceramic mosaic, and has a lofty dome-shaped ceiling modelled and ornamented in true Moorish fashion. Passing by the commemorative foundation stone, the visitor enters through a short inner vestibule, with marble walls, into the theatre itself. The first impression will undoubtedly be that of wonder at the transformation from its old irregular interior—defective in construction and deficient of modern decorative taste—to a strikingly handsome and elegant auditorium. Instead of one gallery there are now two, or, to be more accurate, a balcony and a gallery.
Every part of the theatre has been enlarged, and the
entrances and exits multiplied. Occupying as it does the same ground
space as the old hall, the great increase in the size of the present
theatre is a veritable triumph of architectural skill. This is, perhaps,
due to the fact that Mr Frank Matcham, the
architect, has already designed fifty-three theatres and music halls.
Left - The Auditorium and Stage of the Metropolitan Theatre in its later years - Courtesy Martin Clark.
The holding capacity of the whole house is upwards of 2,800, On the ground floor there are the fauteuils, stalls, and pit seats; also four private boxes, unique in position and appearance. They are on the level of the stage, whilst, approached by a few steps at their rear, two other handsome boxes flank the proscenium opening somewhat below the balcony level.
Of the two saloons for the convenience and refreshment of the ground-floor occupants, one is charmingly decorated in Burmantoft faience, and the other in walnut panelling, with alternate mirrors and tapestry of an original decorative character, the ceiling being treated in the style of Louis XVI. These saloons are entirely separated from the auditorium...
Above - A programme for the Metropolitan Music Hall for the week ending Jan 6th 1894 - Kindly donated by Mr. John Moffatt. On the Bill were Miss Fannie Leslie, Ara, Zebra & Vora, Miss Lucy Clarke, The Harrison Troup, Professor Thornbury, Miss Chrissie Angus, Ted Morris, The Boisset Troupe, Charles Bignell, Charles Deane, Miss Daisy Wood (Sister of Marie Lloyd), The Sisters Belfry, and Edwin Boyde.
...The balcony and gallery are admirably constructed, the
gallery alone affording accommodation for between 800 and 900 persons.
The decorations of the interior are by Mr James M. Boekbinder.
Right - Cast details from a Metropolitan Music Hall programme for the week ending Jan 6th 1894 - Kindly donated by Mr. John Moffatt.
Undoubtedly the most striking feature is the quartet of pictures in the four coves of the ceiling, charming in colour and treatment. Of great size and beauty, they contain between fifty and sixty life-size figures, graceful and natural in every pose, and are illustrative of " Old English Merrymaking," "An Indian Festival," " French Carnival,' and " Spanish Revelry." Crowning the pictured coves is the magnificent ceiling—a veritable chef d'auvre of plastic art.
The
style adopted in the internal decoration is Flemish Renaissance, the
painting being almost entirely in various tints of ivory liberally embellished
with gold. The whole of the upholstery, including the tableau curtain,
is in two shades of dark crimson. This novel colour scheme gives a welcome
sense of delicacy as well as richness, partaking in decorative effect
more of the graceful method of the best Continental opera houses than
that of any English variety theatre.
Left - The back of a programme for the Metropolitan Music Hall for the week ending Jan 6th 1894 - Kindly donated by Mr. John Moffatt.
Indeed, the Continent has been thoroughly explored by architect, artist, and directors themselves for any and every suggestion that would add to the beauty of our latest variety theatre. From Brussels come many of the carvings, from Liege some of the wall decorations, from Vienna some of the appointments, from the Val d'Osnes the allegorical figure in the front of the building. English carpets and English velvets have been chosen, and all that is solid and strong in the building is of British manufacture.
Whilst a gas installation has been provided, electricity is naturally the chief illuminant of the building, and the art fittings thereof have been specially designed to harmonise with the decorative character of the various parts of the theatre. The electric lighting has been installed by that experienced electrician Mr Harry South, of Garrick-street, who has done the work in up-to-date fashion. In the fitting of the stage everything is of the most handy, substantial, and modern construction; and new scenery has been painted by Mr W. T. Hemsley. Every part of the house is of fireproof construction, and in addition to nine separate entrances and exits and to the requisite fire appliances, a safety curtain of iron and asbestos completely isolates the stage from the auditorium. A new departure has been made in the decoration of this curtain. It is painted to represent tapestry with a central picture of the Marble-arch...
Above - A Variety Programme for the Metropolitan Theatre from 1949 - Courtesy Tom Olding
...It was intended to open the new place on Monday last, but at the last moment some minor details were not in order, and the County Council refused to pass the place. However, it was found very easy to put everything right, and the necessary permission was granted to the directorate at noon on Wednesday. In the evening the better parts of the house were crowded by a brilliant and fashionable gathering, and the opening night of the new Met. was celebrated amid much general rejoicing...
Above - A Variety Programme for the Metropolitan Theatre from 1949 - Courtesy Tom Olding - On the Bill were Jay and his Merry Lads, Les Valettos, Bob Andrews, Alfred Thripp, Max Miller, Bob Andrews, Chas Hague, The Harmaniacs, Evelyn Taylor & Shenton Harris, and Terry & Doric Kendal.
...Mr Leon Turner and his capable corps of instrumentalists opened the entertainment with an "Inauguration March," specially composed by him for the occasion, and then that admirable vocalist Miss Lucy Clarke sang the solo of the National Anthem, the audience joining heartily in the chorus. As a matter of course. Mr Henri Gros, the managing director, was called forward during the evening to receive the congratulations of the audience on the splendid house...'
The above (edited) text in quotes was first published in the ERA, 25th December 1897.
Above - A Sketch showing the Metropolitan Theatre as envisioned as a Theatre Restaurant in 1959 - From the ILN, 11th April 1959.
The
opening of the Metropolitan Theatre on Wednesday the 22nd of December 1897 consisted of a variety show with the following acts appearing: Tom White and his Arabs, Princess
Pauline, Miss Cora Cardigan, Miss Alexandra Dagmar, Mr G. W. Hunter,
Mr Harry Atkinson, the Dumond Parisian Minstrels, Miss Marguerite Cornille,
Miss Tiny Arnold, Signor Polverini's Animated Photographs, Bob and Jennie
Leonard, Miss Rachel Walker, Martell and Taunton, Mr Fred Russell, Miss
Florrie Gallimore, Mr Albert Christian, Mr Torn. Costello, Miss Kate
Carney, Miss Alice Maydue, Miss Emmeline Ethardo, Mr Fred Leslie's leaping
dogs, the Avrignys, Miss Julie Mackey, Miss Rose Hamilton, and the Villion
Troupe of acrobatic bicyclists.
Right - A Programme Cover for a production of 'The Whip' at the Metropolitan Theatre in May 1962 - Kindly donated by Edward Beckerleg. Also see Cast Details below. The Whip was first produced at the Theatre Royal, Drury Lane, in 1909 and there are more details and images for that production here.
The Theatre then continued as one of London's most cherished variety Theatres for over 60 years, with every star and act of note performing on its stage. Arthur Lloyd is known to have performed at the Metropolitan Theatre in 1900, and 1902. But sadly by the late 1950s the writing was on the wall for this Theatre as the Council wanted it demolished for a road widening scheme. Various other uses for the building in the meantime, such as becoming a Theatre Restaurant were mooted, see image above, but nothing could stop the 'march of progress'. One of the last productions of note at the Met was 'The Whip' in 1962, see programme above and below, but apart from being used to show wrestling matches in its final months, the end was to finally come in 1963.
Above - Cast Details for a production of 'The Whip' at the Metropolitan Theatre in May 1962 - Kindly donated by Edward Beckerleg. The Whip was first produced at the Theatre Royal, Drury Lane, in 1909 and there are more details and images for that production here.
Above - The Metroplitan Theatre closed and awaiting demolition in 1963 - From the ILN, 27th April 1963.
The Metropolitan Theatre was to survive for just
one more year after the production of 'The Whip' in 1962, but in April 1963 the curtain came down for the last
time and the Theatre was closed for its subsequent demolition. David Baines of the British Music Hall Society says:- 'The
last night of the Met was on Good Friday, April 12, 1963 and the all-star
bill, compered by Tommy Trinder, included Hetty King, Issy Bonn and
Ida Barr from the early days, and in contrast Johnny Lockwood, Mrs Shufflewick (shown right),
Wyn Calvin, Dickie Valentine, Eddie Reindeer and Ted Ray. Ivan Dozin
was the MD.
Right - Mrs. Shufflewick, here photographed for the Windmill Theatre Souvenir Programme No. 37 in 1964.
The theatre was packed for the occasion and hundreds were turned away. The Met was unique in its world. Countless devotees have spent happy hours soaking up the offered entertainment. Soaking is a good word as this was one place where it was possible to enjoy the proceedings from a seat at the bar. The last night at the Met was a wake. A time to remember the good days and for one more time be stirred by the music and the lights. As we sat waiting for the show to begin I looked at the faces of the caryatids supporting the stage boxes. They looked as serene as ever with no indication of their pending doom. The show was great. Never better. As we sadly exited it was hard to believe this was it. Happily the theatre lives on on film and can be seen in the classic Ealing Studio's "The Blue Lamp" which shows scenes inside during a performance. Cinema historians may also like to know that the legendary cinema The Coliseum in Harrow Road, also features in this film' - David Baines BMHS.
Above - The Last Night at the Met - Good Friday 1963 - Courtesy Peter Charlton.
After the Metropolitan Theatre closed it was used by the English movie producer Richard Gordon for the filming of the Theatre scenes in the now cult horror film 'Devil Doll' which was made in early 1963 and released in 1964. The Theatre's dressing rooms and the stage are seen throughout the movie. "One of the luxuries of shooting there on the eve of its destruction", said Gordon, "was the fact that they could make as much of a mess as they wanted, even tear down a wall here or there."This information was kindly sent in by Tom Weaver.
The Theatre was also used after it closed for the filming of scenes for the 1963 film 'Farewell Performance', unfortunately this is now considered a 'lost film', although some stills from it do exist. Legendary music producer Joe Meek wrote some of the music score, and a couple of his artists, including Heinz, appeared in the film. - This information was kindly sent in by Denis Hoare.
Years earlier the Theatre had also been used for the 1950 film "The Blue Lamp". The auditorium of the "Met" is shown along with the bar at the back of the stalls, as the two villains strive to establish an alibi. They climb out of a window in the gents in order to do the robbery. Tessie O'Shea was shown doing part of her act on the stage. - John West.
After 'Devil Doll' and 'Farewell Performance' were shot at the Theatre it's life was finally over and sadly it was then demolished in September 1963.
Above - A Two Page Spread in The Sphere, with drawings by Geoffrey S. Fletcher, sums up the sadness of the loss of this great Theatre - From The Sphere, May 18th 1963.
Demolition of the Metropolitan Theatre, September 1963
Above - Demolition begins on the Metropolitan Theatre in 1963 - Photo Courtesy Peter Charlton.
Above - The death of a landmark: All that remained on September 20th of the famous Metropolitan in Edgware Road were the remnants of these two balconies. Like so many London Theatres and especially Music Halls, the Metropolitan has fallen under the picks and hammers of the demolition workers. - Illustrated London News September 1963.
Alan Chudley writes on the Metropolitan Theatre
I knew this theatre well. It was a delightful
theatre to visit, but a difficult date to take a show into. The Stage
was triangular in plan and there was very little room on the OP side.
Right - A Programme for 'Stars of Radio' at the Metropolitan Theatre January 29th 1945 - Courtesy Alan Chudley.
On the prompt side there was a
large scene dock, later used to store the draperies and scenery from all the Granada houses. Under the stalls floor there were storerooms,
these was apparently the stalls area of the old pre-Matcham, Metropolitan.
Left - A Programme detail for 'Stars of Radio' at the Metropolitan Theatre January 29th 1945 - Courtesy Alan Chudley.
The stage manager at the Met was Ted Bigney who was also the Stage manager at the Edmonton Empire on the night of Marie Lloyd's collapse there which resulted in her death a few days later. - Alan Chudley.
Archive newspaper reports on this page were collated and kindly sent in for inclusion by B.F.