Trafalgar Studios

• Theatre ID
  1992
• Built / Converted
  1930
• Dates of use
  • 1930: continuing
• Current state
  Extant
• Current use
  Theatre
• Address
  14 Whitehall, Westminster, London, SW1A 2DY, England

Details

The Whitehall opened in the peak year, 1930, of the West End's little inter-war boom in theatre building. Opening as a playhouse it became a home for the revues of Phyllis Dixey, the stripper, from 1942. A series of memorable farces followed, from 1945 to 1969. In 1971 Paul Raymond took over, producing a nude musical. In the later 1970s he turned it into a 'Theatre of War' (actually a tourist-trap war museum), a use which was unauthorised, and which led to enforcement action by Westminster City Council, followed by an important public inquiry in which Westminster were supported by the newly-formed Theatres Trust and the Save London's Theatres Campaign. The decision, which went against Raymond, set a crucial precedent in the defence of theatre use in London's West End (later reinforced by the strengthening of the Use Classes Order). The Maybox Group, in which Ian Albery was then the guiding spirit, acquired the Whitehall from Raymond, set about restoring it from its gloomily ‘painted out’ state and reopened it as a live theatre. Externally, the Whitehall, which has Portland stone public elevations, front and back, set a style which was copied elsewhere, occasionally with a sort of 'chapter and verse' homage (as at Bournemouth Playhouse, q.v.). The plain geometric Whitehall façe was praised by modernists and, notably, by Professor C H Riley, as 'so clean and simple...that it makes the Government offices, banks and public houses...look as if they need a shave'. Early programmes (perhaps using the architect's words) described it as 'modern without being outre...the 'Boulevarde' (sic) theatre of one's dreams'. The interior, 'a dream in black and silver', was the work of Edward Stone's collaborators on other theatres, Marc-Henri & Laverdet (see e.g. the Prince Edward). The single-balconied auditorium relied on crisp geometry, sharp Art Deco forms and concealed lighting for its dramatic effect. Black, tinted silver, green and rose were used in a manner reminiscent of Ionides's Savoy of the previous year but, in this small space, so highly concentrated that the few multi-coloured panels of flat decoration have a quite remarkable impact. The thoughtful restorations ordered by Albery in 1985 were more faithful than it was reasonable to expect for a then unlisted building. The blotted-out colours and decorative motifs were carefully recreated from a few remaining untouched fragments, but with midnight blue replacing black. A late-comers viewing box was added and alterations to front of house were made using the established architectural vocabulary. The long-lost glass-beaded house tabs, with Art Deco patterns illuminated by the (also lost) concealed lights in the proscenium cove have not been restored, but an owner following the example of 1985 might, perhaps, be persuaded to make this further contribution to the enrichment of this fine theatre. The auditorium was as intimate and pleasing as any architect succeeded in designing in the uncertain thirties (Stone did not actually train as an architect) and it is remarkable that it remained without the protection of listing until 1997. The stage was extremely constricted in both wing space and depth, and with a road at front and back there was no practicable way of increasing its depth. This defect did not, however, prevent ingenious designers from creating illusions of space. The Whitehall's position on the very edge of Theatreland, separated from it by Trafalgar Square and situated a little too close to the stiffness and pomp of government offices was giving it a patchy career by the 1990s. Its unusual character was no longer viewed as an advantage. It fell out of favour with producers and was exposed to regular pressures for relaxation of strict theatre use. The cure adopted in 2004 was radical, but not destructive. The balcony was extended forward to produce a long single rake and the stage was also extended through the proscenium arch to produce an acting area that has proved popular with companies and audiences. Under the rake a small studio space was created. The interior decorations are partly concealed. It would have been impossible in the 1960s to foresee the problems the theatre would face thirty years later and it is equally impossible to predict how production styles and audience tastes may change thirty years hence and, for this reason, the 2004 works were carried out so as to be fully reversible.

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• Other names
  Whitehall Theatre
• Events
  • Owner/Management: currently: Ambassador Theatre Group
  • 1930 Use: continuing
  • 1930 Design/Construction:
    • Marc-Henri & Laverdet - Consultant: Interior Design
    • Edward A Stone - Architect
  • 1955 Alteration: restored (architect unknown).
  • 1969 Owner/Management: Paul Raymond
  • 2004 Design/Construction: alterations to auditorium and stage; creation of a studio theatre below.
    • Tim Foster with Jaques Muir & Partners - Architect
• Capacities
  • Original: 660
  • Later: 1971: 632 later: 648 2004: Studio One 380 2005: Studio Two 80
  • Current: S1 380; S2 80
• Listings
  • Grade II
• Dimensions
  • Stage dimensions: d: 5-7m
  • Proscenium width: 8.4m (27ft 6in)
  • Height to grid: 15.2m (50ft)