The Theatre Royal, Drury Lane, commonly known as Drury Lane, is a West End theatre and Grade I listed building in Covent Garden, London, England. The building faces Catherine Street (earlier named Bridges or Brydges Street) and backs onto Drury Lane. The present building, opened in 1812, is the most recent of four theatres that have stood at the location since 1663, making it the oldest theatre site in London still in use. According to the author Peter Thomson, for its first two centuries, Drury Lane could "reasonably have claimed to be London's leading theatre". For most of that time, it was one of a handful of patent London theatres, granted monopoly rights to the production of "legitimate" drama (meaning spoken plays, rather than opera, dance, concerts, or plays with music).
The first theatre on the site was built at the behest of Thomas Killigrew in the early 1660s, when theatres were allowed to reopen during the English Restoration. It was initially known as "Theatre Royal in Bridges Street". The theatre's proprietors hired prominent actors who performed at the theatre on a regular basis, including Nell Gwyn and Charles Hart. In 1672, the theatre caught fire, and Killigrew built a larger theatre on the same plot, renamed the "Theatre Royal in Drury Lane", which opened in 1674. This building lasted nearly 120 years, under the leaderships of Colley Cibber, David Garrick and Richard Brinsley Sheridan, the last of whom employed Joseph Grimaldi as the theatre's resident Clown.
In 1791, under Sheridan's management, the building was demolished to make way for a larger theatre which opened in 1794. This new Drury Lane survived for 15 years before burning down in 1809. The building that stands today opened in 1812. It has been the residency of well known actors including Edmund Kean, comedian Dan Leno and the musical composer and performer Ivor Novello. From the Second World War, the theatre has primarily hosted long runs of musicals, including Oklahoma!, My Fair Lady, 42nd Street and Miss Saigon, the theatre's longest-running show. The theatre is owned by the composer Andrew Lloyd Webber. Since January 2019, the venue has had ongoing renovations, and in July 2021, it reopened after over two years of extensive work and closures related to the COVID-19 pandemic. Disney's Frozen made its West End debut at Drury Lane the same year.
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First theatre: Theatre Royal, Bridges Street (1663)
A playhouse known as the Cockpit Theatre used by Queen Anne's Men on Drury Lane was targeted by rioting apprentices on 4 March 1617. After the eleven-year-long Puritan Interregnum, which had seen the banning of pastimes regarded as frivolous, such as theatre, the English monarchy was restored to the throne with the return of Charles II in 1660. Soon after, Charles issued Letters Patent to two parties licensing the formation of new acting companies. One of these went to Thomas Killigrew, whose company became known as the King's Company, and who built a new theatre in Drury Lane. The Letters Patent also granted the two companies a shared monopoly on the public performance of legitimate drama in London; this monopoly was challenged in the 18th century by new venues and by a certain slipperiness in the definition of "legitimate drama," but remained legally in place until 1843. The new playhouse, architect unknown, opened on 7 May 1663 and was known from the placement of the entrance as the "Theatre Royal in Bridges Street." It went by other names as well, including the "King's Playhouse." The building was a three-tiered wooden structure, 112 ft (34 m) long and 59 ft (18 m) wide; it could hold an audience of 700. Set well back from the broader streets, the theatre was accessed by narrow passages between surrounding buildings.
The King's Company was forced to commission the technically advanced and expensive Theatre Royal playhouse by the success of the rival Duke's Company, which was drawing fascinated crowds with their "moveable" or "changeable" scenery and visually gorgeous productions at the former Lisle's Tennis Court at Lincoln's Inn Fields. Imitating the innovations at Lincoln's Inn Fields, the Theatre Royal also featured moveable scenery with wings or shutters that could be smoothly changed between or even within acts. When not in use, the shutters rested out of sight behind the sides of the proscenium arch, which also served as a visual frame for the on-stage happenings. The picture-frame-like separation between audience and performance was a new phenomenon in English theatre, though it had been found on the Continent earlier. Theatre design in London remained ambivalent about the merits of the "picture-box" stage, and for many decades to come, London theatres including Drury Lane had large forestages protruding beyond the arch, often including the thrust stages found in the Elizabethan theatres. The players could still step forward and bridge the distance between performer and audience, and in addition, it was not unusual for audience members to mount the stage themselves.
Second theatre: Theatre Royal, Drury Lane (1674)
During the 20th century, one illustration was repeatedly – and wrongly – published as "Christopher Wren, design for the Theatre Royal Drury Lane, 1674". Since 1964, this presumption has been disputed by scholars. Careful inspection of the drawing at All Souls' College, Oxford Library shows that it has one pencil inscription: "Play house" [sic], which may have been added by a librarian or by anyone else. No sign of a signature (by Wren or anyone else) or a date appears anywhere on the drawing. Robert D. Hume of Penn State University explained that use of the drawing "rests almost entirely on the supposition that the so-called "Wren section" at All Souls represents this theatre. It could just as easily be a discarded sketch unconnected to Drury Lane in any way."
Comparative evidence for Drury Lane's 1674 design can be found in the Theatre Royal, Bristol, built in 1766, whose design was modelled, in part, on Drury Lane's. The site measured 112 ft (34 m) east-west and 59 ft (18 m) north-south. The building was smaller than this, as reliable surveys and maps of the period show three passageways measuring between 5 and 10 ft (1.5 and 3.0 m) wide surrounding the Theatre Royal on three sides. The building probably measured between 40 and 50 ft (12 and 15 m) wide (the average width of all "Restoration" Theatres) and between 90 and 100 ft (27 and 30 m) long. Architect Robert Adam designed Drury Lane's 1674 interior. The theatre was managed, from 1747 to Adam's retirement in the 1770s, by David Garrick.
The King's Company never recovered financially from the loss of the old Theatre Royal Bridges Street. The cost of constructing the new theatre, replacing their costumes and scenery lost in the fire and competitive pressure from the rival Duke's Company contributed to its decline. Eventually, in 1682, the King's Company merged with the Duke's. The 1674 Theatre Royal building contained a warren of rooms, including storage space and dressing rooms used by the management and performers, nearly seventy people in total, as well as some fifty technical staff members. Additionally three rooms were provided for scripts, including a library for their storage, a separate room for copying actors' parts and a special library for the theatre's account books, ledger books and music scores. This jumble of rooms often made communication among various departments difficult, a problem that Garrick corrected during his tenure as manager. The entire complex occupied 13,134 sq ft (1,220 m2) bounded by Drury Lane (east), Brydges Street (west), Great Russell Street (north) and Little Russell Street (south).
Third theatre (1794)
The theatre was in need of updating by the end of the 18th century and was demolished in 1791, with the company moving temporarily to the new King's Theatre, in the Haymarket. A third theatre was designed by Henry Holland and opened on 12 March 1794. In the design of the theatre boxes, Henry Holland asked John Linnell for assistance. The designs by Linnell survive in the V&A Print Room – there are also designs by Henry Holland and Charles Heathcote Tatham who were involved in the design process. This was a cavernous theatre, accommodating more than 3,600 spectators. The motivation behind building on such a large scale? In the words of one owner:
I was aware of the very popular notion that our theatres ought to be very small; but it appeared to me that if that very popular notion should be suffered to proceed too far it would in every way deteriorate our dramatic performances depriving the proprietors of that revenue which is indispensable to defray the heavy expenses of such a concern.
New technology facilitated the expansion: iron columns replaced bulky wood, supporting five tiers of galleries. The stage was large, too: 83 ft (25 m) wide and 92 ft (28 m) deep. Holland, the architect, said it was "on a larger scale than any other theatre in Europe." Except for churches, it was the tallest building in London.
The "very popular notion that our theatres ought to be very small" proved hard to overcome. Various accounts from the period bemoan the mammoth size of the new theatre, longing for the "warm close observant seats of Old Drury," as one May 1794 theatregoer put it. Actress Sarah Siddons, then part of the Drury Lane company, called it "a wilderness of a place" (and left Drury Lane along with her brother John Philip Kemble in 1803). Not only was any sense of intimacy and connection to the company on stage lost, but the very size of the theatre put a great deal of the audience at such a distance from the stage so as to make hearing a player's voice quite difficult. To compensate, the productions mounted in the new theatre tended more toward spectacle than the spoken word. An example of such a spectacle is a 1794 production that featured real water flowing down a rocky stream into a lake large enough on which to row a boat. This water issued from tanks in the attics above the house, which were installed – along with a much-touted iron safety curtain – as proof against fire.
Modern theatre (1812–present)
The present Theatre Royal in Drury Lane, designed by Benjamin Dean Wyatt on behalf of the committee led by Whitbread, opened on 10 October 1812 with a production of Hamlet featuring Robert Elliston in the title role of Prince Hamlet. The new theatre made some concessions toward intimacy, seating 3,060 people, about 550 fewer than the earlier building (though this size is still considered an extremely large theatre). On 6 September 1817, gas lighting was extended from the audience area to the stage, making it the first British theatre to be gaslit throughout. In 1820, the portico that still stands at the theatre's front entrance on Catherine Street was added, and in 1822 the interior underwent a significant remodelling. The colonnade running down the Russell Street side of the building was added in 1831.
Productions relying more on scenery and effects than on dialogue and acting remained commonplace in the new facility. The 1823 production of Cataract of the Ganges had a finale featuring a horseback escape up a flowing cataract "with fire raging all around." Effects for an 1829 production were produced by hydraulic apparatus that reportedly could discharge 39 tons of water.
There were those concerned that the theatre was failing in its role as one of the very few permitted to show legitimate drama. Management of the theatre after it reopened in 1813 fell to Samuel James Arnold, overseen by an amateur board of directors and a subcommittee focusing on the theatre as a centre for national culture. (Lord Byron was briefly on this subcommittee, from June 1815 until leaving England in April 1816.) Actor Edmund Kean was the on-stage highlight; like Macklin before him, he made his reputation as Shylock, premiering in the role in 1814. Kean remained until 1820 through praise and notorious disputes with local playwrights such as Charles Bucke.
Elliston leased the theatre from 1819 until he went bankrupt in 1826. An American, Stephen Price of New York City's Park Theatre, followed from 1826 to 1830.
Through most of the remainder of the 19th century, Drury Lane passed quickly from one proprietor to another. A colonnade was added to the Russell Street frontage, in 1831, by architect Samuel Beazley. In 1833, Alfred Bunn gained control of both Drury Lane and Covent Garden, managing the former from 1833 to 1839, and again from 1843 to 1850. Following the lead of the Lyceum Theatre, London, Bunn championed English opera, rather than the Italian operas that had played earlier at the theatre. These included Fair Rosamond and Farinelli by John Barnett; a series of twelve operas by Michael Balfe including The Maid of Artois and The Bohemian Girl; Maritana and others by William Vincent Wallace and several by Julius Benedict. In 1837, actor-manager Samuel Phelps (1804–1878) joined the company at Drury Lane, appearing with William Charles Macready, the gifted actor-manager in several Shakespeare plays. He also created the role of Captain Channel in Douglas Jerrold's melodrama, The Prisoner of War (1842), and of Lord Tresham in Robert Browning's A Blot in the 'Scutcheon (1843). Macready was briefly manager in 1841–1843, putting significant reforms in place. Nevertheless, most productions there were financial disasters.
Interior renovation (1922)
In 1922, under the ownership of managing director Sir Alfred Butt, the theatre underwent its last major interior renovation of the 20th century. At a cost of £150,000, it became a four-tiered theatre able to seat just over 2,000 people. It was decorated with one of the most notable interiors produced by the specialist ornamental plasterwork company of Clark and Fenn. Composer and performer Ivor Novello, immensely popular in his time though little-remembered today, presented his musicals in Drury Lane from 1931 to 1939.
The theatre was closed in 1939 because of the outbreak of the Second World War. During the war, it served as the headquarters for the Entertainments National Service Association, sustaining some minor bomb damage. It reopened in 1946 with Noël Coward's Pacific 1860.
The building was Grade I listed in February 1958.
In 2000, Theatre Royal Drury Lane was purchased by Andrew Lloyd Webber. Since 2014, it has been owned and managed by LW Theatres, Lloyd Webber's management company. The seating plan for the theatre remains the same and the auditorium is still one of the largest in London's West End. It is one of the 40 theatres featured in the 2012 DVD documentary series Great West End Theatres, presented by Donald Sinden.
350th anniversary renovation (2013)
On 15 May 2013, Lloyd Webber revealed a £4 million restoration of the theatre to mark its 350th anniversary. Using a team of specialists, the detailed restoration has returned the public areas of the Rotunda, Royal Staircases and Grand Saloon, all of which were part of the 1810 theatre, to their original Regency style.
Productions of the 20th and 21st centuries
Four of Rodgers and Hammerstein's musicals made their London debuts in Drury Lane, holding the stage almost continuously for nearly a decade, including Oklahoma! (1947–1950), Carousel (1950–1951), South Pacific (1951–1953) and The King and I (1953–1956). American imports also included Lerner and Loewe's My Fair Lady, which began a five-year run in 1958. In 1974, Monty Python recorded an album at the theatre, Live at Drury Lane.
Later long runs at the theatre include productions of A Chorus Line (1976–1979), 42nd Street (1984–1989), Miss Saigon (1989–1999, the theatre's longest-running show), The Producers (2004–2007), Charlie and the Chocolate Factory the Musical (2013–2017) and Frozen (2021–2024). Shakespeare revivals at the theatre directed by Jamie Lloyd have included The Tempest (2024–2025) and Much Ado About Nothing (2025).
The London Theatres website has a timeline that selects the following additional fully-staged productions since 1919:
Hauntings
The author Tom Ogden calls the Theatre Royal one of the world's most haunted theatres. The appearance of almost any one of the handful of ghosts that are said to frequent the theatre signals good luck for an actor or production. The most famous ghost is the "Man in Grey", who appears dressed as a nobleman of the late 18th century: powdered hair beneath a tricorne hat, a dress jacket and cloak or cape, riding boots and a sword. Legend says that the Man in Grey is the ghost of a knife-stabbed man whose skeletal remains were found within a walled-up side passage in 1848. Various people have reported seeing the ghost, including W. J. MacQueen-Pope, who described its usual path as starting at the end of the fourth row in the upper circle and then proceeding via the rear gangway to the wall near the royal box, where the remains were found.
The ghosts of actor Charles Macklin and clown Joseph Grimaldi are also supposed to haunt the theatre. Macklin appears backstage, wandering the corridor which now stands in the spot where, in 1735, he killed fellow actor Thomas Hallam in an argument over a wig ("Goddamn you for a blackguard, scrub, rascal!" he shouted, thrusting a cane into Hallam's face and piercing his left eye). Grimaldi is reported to be a helpful apparition, purportedly guiding nervous actors skilfully about the stage on more than one occasion. The comedian Stanley Lupino said he had seen the ghost of Dan Leno in a dressing room.