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Royal Alexandra Theatre

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Royal Alexandra Theatre

The Royal Alexandra Theatre, commonly known as the Royal Alex, is an historic performing arts theatre in Toronto, Ontario. The theatre is located at 260 King Street West, in the downtown Toronto Entertainment District. Owned and operated by Mirvish Productions, the theatre has approximately 1,244 seats across three levels. Built in 1907, the Royal Alexandra Theatre is the oldest continuously operating legitimate theatre in North America.

The Royal Alex is a 1,244-seat, beaux-arts style, proscenium-stage theatre, with two balcony levels, built in the style typical of 19th century British theatres. Construction began in 1905 and was completed in 1907. Since 1963, it has been owned by Ed Mirvish Enterprises, a company established by Toronto department store owner Edwin Mirvish. Since 1986, the theatre has been managed and operated by Mirvish Productions, the theatre production company headed by Ed's son, David Mirvish. The theatre, commonly known as the "Royal Alex", "the Alex" or "the R.A.T." is named for Queen Alexandra, a Danish princess who was the wife of King Edward VII, and the great-great-grandmother of the current King of Canada, Charles III. The theatre received letters patent from Edward VII entitling it to the royal designation. Its present owners believe that it is the only remaining legally "royal theatre" in North America.

At the time of its opening, the Royal Alex was in an upscale neighbourhood. The mansion of Ontario's lieutenant-governor was nearby, the Ontario legislative buildings had been there until 1893, the upper-class St. Andrew's Presbyterian Church and the Princess Theatre, Toronto's finest "first-class" showplace, were also in the vicinity. The theatre was built on what had previously been the athletic field of the exclusive boys' school Upper Canada College near the corner of King and Simcoe streets. This intersection was then known as "the crossroads of Education, Legislation, Salvation and Damnation" - "Education" for Upper Canada College; "Legislation" for the parliament buildings; "Salvation" for St. Andrew's; and "Damnation" for a tavern, popular with actors from the Princess Theatre, that then stood on the northeast corner of the crossroads.

The construction of the Royal Alex was financed by a group of business leaders who sought to "put Toronto on the map" as a place of culture and refinement. The principal of this group was Cawthra Mulock, a 21-year-old foundry owner, scion of two of Ontario's most prominent families (the Cawthras and the Mulocks) who lived a short walk east of site in a large home called "Cawthra House", locally famed for its doorknobs of solid gold. Other members of the syndicate included Robert Alexander Smith, Stephen Haas, and Lawrence "Lol" Solman. Solman would manage the theatre from 1907 until his death in 1931.

The architect chosen by Mulock and his group was the young John McIntosh Lyle, born in Belfast, reared in Hamilton, Ontario, and educated at Yale University and Paris' École des Beaux-Arts. Lyle was an associate with the New York architectural firm Carrère and Hastings, the official architects of the theatre. Mulock gave Lyle a budget of $750,000 and the simple instruction "Build me the finest theatre on the continent." He also, however, insisted that the theatre be built on a steel frame, as a demonstration of the products of his foundry.

Lyle greatly overspent his budget, but delivered a structure described in later years as "an Edwardian jewel-box." The interior featured an Italian marble lobby; Venetian mosaic floors; elaborately carved walnut and cherrywood stairs and railings; silk wallpapers; ornate, gilded plasterwork; and an enormous sounding-board mural ("Venus and Attendants Discover the Sleeping Adonis") by the popular Canadian painter Frederick S. Challener. Lyle also incorporated a number of "firsts" into his design: the Alex was North America's first air-conditioned theatre (by virtue of a large ice-pit under the orchestra), one of its first "fireproof" theatres, and the first on the continent (thanks to the steel framing) to employ cantilevered balconies, with no internal pillars to interfere with lines of sight.

The theatre opened on August 26, 1907. Its first presentation was a pantomime "spectacle" titled "Top O'Th' World", starring Anna Laughlin, heading a cast of 65. During its early years, the Royal Alex had great difficulty in booking acts for its stage. The theatre owners found themselves at odds with the powerful Theatrical Syndicate, the New York-based organisation headed by Charles Frohman, Al Hayman, Abe Erlanger, Mark Klaw, Samuel F. Nixon and Fred Zimmerman that not only exercised a near monopoly on touring theatre in North America, but also had a financial interest in the rival Princess Theatre, two blocks east of the Royal Alexandra. The manager of the Alex, Lawrence "Lol" Solman, allied his theatre with the Syndicate's chief challengers, the Shubert brothers. For this impertinence, Solman later wrote, Erlanger threatened to drive the Alex into bankruptcy and turn it into a stable for the horses of the "carriage trade" patrons of the Princess. The local rivalry with the Princess Theatre ended in 1931 when the Princess was demolished to make way for an extension of University Avenue, leaving the Royal Alex as Toronto's only first-class, legitimate playhouse.

Over the 1940s and '50s, the Royal Alex declined - as did so many regional theatres, unable to compete with cinema, radio and television - into hard times. The neighbourhood surrounding the theatre also went into decline, becoming dominated by railway marshalling yards, warehouses and light industry that had moved to the area following the Great Toronto Fire of 1904. In 1962, after a decade of money-losing operation, the trustees of the Mulock estate (Cawthra Mulock died during the Spanish flu pandemic in 1918) put the theatre up for sale. The theatre was to have been demolished for a parking lot. The property was purchased by Ed Mirvish in 1963, owner of the Toronto discount shop Honest Ed's for the sum of $250,000. Mirvish said at the time that he knew nothing about theatre—had never even been inside a theatre—but knew a bargain when he saw one.

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