Theatres
Aberdeen Theatre History The Theatre Royal - Marischal Street: A Plaque erected by Aberdeen City Council at Theatre Lane states: "In 1795 the Theatre Royal, Seating 600, was created in Marischal Street where the Church is now. This Lane runs under the Building and was between the Stage & the Auditorium.   The Theatre Royal was conceived by Stephen Kemble, brother of the…
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Aberdeen Theatre History

The Theatre Royal – Marischal Street: A Plaque erected by Aberdeen City Council at Theatre Lane states: “In 1795 the Theatre Royal, Seating 600, was created in Marischal Street where the Church is now. This Lane runs under the Building and was between the Stage & the Auditorium.

The Theatre Royal was conceived by Stephen Kemble, brother of the Actor John Philip Kemble. Eminent performers included Charles Macready & Charles Keen. The Theatre flourished until 1872 when it was replaced by ‘Her Majesty’s Opera House‘, later the ‘Tivoli’, in Guild Street.

The Theatre Royal was completed in 1795 and Funded by a Subscription; it was Aberdeen’s 1st Permanent Theatre. The Theatre, Designed by Mr Holland, cost £3000 Sterling and Seated 500 to 600 people. In 1818 a Box cost 6s, a place in the Pit 4s and a place in the Gallery 2s, whilst in 1837 this was 3s for a Box, 2s for the Pits and 1s for the Gallery. The Theatre Royal was very popular with Aberdeen’s High Society until the 1830s when it began to fall into Decline. Three years after the Opening of Her Majesty’s Theatre & Opera House in 1872 (Tivoli) the Premises of the Theatre Royal were Sold to the Church of Scotland. A Scotch Playhouse

Although Theatre & Public Performances have a long History in Aberdeen this was the 1st Permanent Theatre in the City. Arguably Public Performances in Aberdeen can be traced back to the dramatic Religious Performances of the pre-Reformation era. From the early 17thC James VI Licensed Stage Plays & Companies of Comedians to perform in the City. From the latter 17th & early-18thC Travelling Theatre Companies & Theatre Productions became almost unheard of in Scotland. After some Opposition, a Company of Comedians Established themselves in Edinburgh in 1745 and a Detachment in Aberdeen in 1751. The Detachment was initially denied any Premises in Aberdeen itself and raised a Building on the South side of the Spital for Performances. This Closed after 1-Season. In 1768 the Magistrates Licensed a Company under one Mr Fisher to Perform in Aberdeen, in the New Inn, Castle Street.

In 1773 the celebrated West Digges attempted to Establish a Theatre in Aberdeen. Having been opposed he set up a successful Theatre on the North side of the Spital.

West Digges received his early Education at Westminster School, London which he left in 1740. He became an Ensign in Colonel James Long’s Regiment of Foot (in January 1741) and later (in June 1744) in Colonel Richard O’Farrell’s. He left the army in 1749, and shortly after began his acting career. His 1st Stage appearance was in Venice Preserved at Thomas Sheridan’s Theatre Royal in Dublin (1749). He continued to Act, although with some breaks, in Dublin until 1756 when he moved to Edinburgh and became Actor-manager of the Edinburgh Theatre (a.k.a. the Canongate Concert Hall). Often in Debt and unpopular with his Creditors, he moved around a lot for the remainder of his life, appearing at various times in Dublin, Edinburgh, London, Cork, Limerick, York & Liverpool. He retired from Acting in 1784, after having suffered a Paralytic Stroke during Rehearsals for a new Staging of Venice Preserved at Dublin’s Theatre Royal – the same Play and the same Theatre in which he had had his Theatrical Debut 35-yrs before.

In the wake of this success, a Site was selected on the newly formed Marischal Street to House a Permanent Theatre in Aberdeen proper. The Building was completed in 1795 at a cost of £3000 raised by Subscription. Eventually, the Site was Purchased outright by John Fraser, a Local Merchant. The Theatre was effectively small to medium sized Housing some 500-600 people. In the 1st few Decades of its existence, it was particularly popular and drew in many of those from Aberdeen’s High Society. The Journalist W Carnie reminisced that in the 1830s ‘I have seen Marischal Street half lined with the waiting Carriages of the best Families of the Town & County.‘ Its main Attraction, after 1818, was its Production of Rob Roy. In 1817 the Lease of the Theatre Royal had been taken on by Corbet Ryder, who was an Actor-Manager. He made a reputation for himself with his swashbuckling Acting style. It has been argued that Ryder, and his wife Jessie Pollock (who managed the Theatre after her husband’s death in 1842), Established Scotland’s Northern Theatre Circuit using Aberdeen as their Base.

In 1818 the elder Samuel Johnson and his wife were with Corbet Ryder’s Company, based on the Aberdeen circuit. Peter Baxter, Author of The Drama in Perth, thought him to be the best Toni Lumpkin of that time. He played many leading roles with Ryder’s Company and was probably the ‘Mr Johnson’ who played at the Theatre Royal Dublin in the spring of 1821.

The Penny Rattler – Street Theatre: Albion Street, also known as the ‘Bool‘ or Bowl Road because it led to the bowling green. It led to the Links from the foot of Justice Street. On the right-hand side is the Mission Chapel which in 1848 replaced the “Penny Rattler“, a rough Street Theatre which gave the area a very bad reputation. No doubt so named as a result of the randomly collected voluntary donations from the assembled Public for their Bawdy Plays Staged on a makeshift Platform between Property Gables by Amateur Players. The Site later became Albion Street Congregational Church. The area was cleared in the1940 & 50s for the Development of the Beach Boulevard. It is apt that Loons played ‘Bools‘ on the Waste Ground in Front of Hanover Street School in the 1940‘s opposite the Casino Cinema in Wales Street. These compatible Scene depictions may have been near the Site of the later Hanover School

By the 1830s & the 1840s the growing Evangelical Reform movement in Aberdeen successfully challenged the notion of the Theatre as being a respectable form of Entertainment for the Aspiring & Established Classes. At this time the ‘Penny Rattler’ or Bool (Bowl) Road Theatre (later Albion Street) attracted more Patrons and more Criticism for its poor Taste, Violence & Drunkenness that attended its Performances.

Aside from these considerations, Pollock’s tastes were Conservative, at a time when London based shows were increasing available (via an improving Transport Network) to the North. This led to a need to build a big venue to attract these touring London shows, this led to the opening of Her Majesty’s Theatre & Opera House in Guild Street c.1872 (reopened as the Tivoli in 1910 after a refit by Frank Matcham), the Palace Theatre in Bridge Place 1898 and finally His Majesty’s Theatre in Rosemount Viaduct 1906, His Majesty’s could seat 2500. Three years after Her Majesty’s opened, the Premises of the Theatre Royal were Sold to the Church of Scotland.

The Lyceum or Royal Theatre, John Street

Opened in 1913 in the former Zion Chapel of 1841. Refurbished and renamed 1916. Closed by 1918. Later a Salvation Army hall. Later an Antiques Warehouse.

Robert Dufton Scott (1880-1944), born in Forgue, was another prominent North-East Entertainer. Much can be learnt of his Life from the Press & Journal Obituary that followed his death at his home at 3-Kirkland Terrace, Inverurie on 19th September 1944. He was 64-yrs of age. He is described as a well known Elocutionist & Exponent of Aberdeenshire Doric Dialect. He spent his youth in Huntly and later moved to Aberdeen. The P&J suggest his “vivid delineation of Aberdeen life & character” quickly placed him at the forefront of Scottish Entertainers. He Toured with Walker & Co, the local Cinema Pioneers, and appeared on the same bill as Artists such as James Scott Skinner, Durward Lely, Mackenzie Murdoch & Jessie McLachlan. He was associated with David Thomson at the Beach Pavilion and also appeared in Concerts at the Music Hall. Additionally, Scott found success Publishing Books of Scottish Stories & Broadcasting on the Radio. In the 1910s he had moved to Inverurie and had set up Business as a Bookseller. He was Survived by his Wife and 3-sons.

Converted from the Trinity Church in 1881; Theatre from 1881 – 1910

The old Church of the Redfriars was pulled down in the 1790s and replaced by a new one. At the end of 1793 the Town Council appointed Reverend George Gordon to the Cacant East Church of St Nicholas. Many of the Parishioners protested vigorously about both the choice of Candidate and the mode of Election. When they were ignored they felt called upon to Leave the Congregation and set up their own place of Worship. The Church, along with a Session House & Manse, was Built at a total cost of £2000, raised almost entirely through the efforts of those who had walked out of the South Church of St Nicholas. On Sunday 27th April 1794, the Church was opened for Public Worship by Dr Cruden, Minister of St Fittick’s Church at the Bay of Nigg. The 1st Minister of the Church was the Rev Robert Doig. By 1825, the weekly attendance averaged about 1200, with a Membership, which exceeded 1400, scattered in all parts of the City. The Minister at that time, the Rev David Simpson, was highly respected and had a tendency to take strong attitudes on certain subjects. It was said of him that he was a ‘Ringleader among the Teetotallers who Infest the Town’. Simpson’s sympathies lay very clearly with the Disruption in 1843, when 450-Ministers of the Church of Scotland broke away to form the Free Church of Scotland, the main contention being over the Right of a Wealthy Patron to appoint the Minister of his choice to a Church. After the Formation of the Free Church Mr Simpson Preached his last Sermon at Trinity Church on 11th June 1843, which Incited the Congregation to Leave with him: almost all of them did.

A world-famous Equestrian Establishment, the Cooke’s Royal Circus provided Family Entertainment in Aberdeen for 125-yrs at the Circus at Bridge Place. One of the Stars of the Show, John Henry Cooke, was born in New York. Part of the 5th Generation of the Family, John Henry Cooke began Acting at the age of 4 and was an expert Tightrope Walker by the time he was 5-yrs old. At 18, he was known as the “Champion Equestrian of the Universe“. When he was young, John Henry Cooke moved with his Family to Aberdeen, where he would grow up to entertain and amuse the Public with his Equestrian & Gymnastic skills. Performances were at the Alhambra and the old Trinity Church Entrance was off Trinity Lane, Market Street c.1880-85

Ultimately the Trinity Church Buildings were sold in 1881, converted & opened as the Alhambra Music Hall, a sort of Rival to the nearby Her Majesty’s – later Tivoli Theatre. Not only was the Alhambra one of several Locations in Aberdeen where the Public could experience the Delights of the Electro-graphic Cinematograph, but it was also the Winter Quarters for the small Zoo opened by John Sinclair in 1906, which boasted the ‘finest collection of Lions, Bears, Wolves & Hyenas in the North of Scotland’.

The New Theatre & Opera House, in Guild Street, was Built in 1872 at a cost of £8400, Seats 1650 Spectators, and has a Frontage of 75-ft, a mean depth of 90-ft, and a height of 50-ft. Although generally known as the Tivoli this Theatre was opened in 1872 as Her Majesty’s Theatre & Opera House, to the Design of Architects James Matthews of Aberdeen & C B Phipps, a London based Architect brought in as a Consultant. It was built at a Cost of £8,400 and is credited with being the 1st Theatre in Scotland to use Concrete on any considerable scale. The inaugural Play was Lord Lytton’s ‘Lady of Lyons’. The Auditorium was Rebuilt in 1897 by the Famous Theatre Architect Frank Matcham, but then closed temporarily following the Opening of the Larger His Majesty’s Theatre on Rosemount/Denburn Viaduct. This Theatre was extensively Reconstructed in 1909, again by Matcham, and opened in July 1910 as the Tivoli. The Tivoli was refurbished again in 1938, but eventually fell foul of changing tastes & the advent of Televison. It became a Bingo Hall in 1966 and by the 1990s over 500-Players entered its doors daily. The impact of the National Lottery and the beginnings of Internet-based Bingo with larger Jackpots brought its closure in 1997. This much-loved Building was then at the centre of many calls for it to be re-opened. A Grant from the Green Townscape Heritage Initiative in 2010 has allowed works to make the Building safe to re-Open to the Public.

Built as Her Majesty’s Theatre & Opera House in 1872, with 800 seats. Renamed the Tivoli Music Hall in 1910, after a rebuild by Frank Matcham in the mixed Gothic style, for £8,400. With the Stage 52-ft by 29-ft and the Auditorium for 1700 to 1800-persons. The Front wall is of Bluish Granite with Red & Yellow Freestone, with some Polished Peterhead Granite Pillars, the rest being Built of Concrete.

1872 Prospectus for Aberdeen Theatre & Opera House issued a Prospectus for “The Aberdeen Theatre & Opera House Company Ltd” Issued along with a Provisional Committee consisting of 18-Influential Gentlemen is formed. The Capital was stated at £8,000, in shares of £1.00 each, and the Site to be in Guild Street, Aberdeen. A number of Shares were also taken by Parties in London. Mr James Matthews was appointed Architect in Consultation with Mr C B Phipps, FSA, London. “The want of a Theatre & Opera House, where the Public can obtain good Accommodation and which can be utilised, if necessary, for other purposes, has been for some time universally felt. With the view of supplying this want, a Site on Guild Street, extending back to Trinity Street, has been secured by the Promoters“. The New House was Built at a cost of £8,400 to hold 1650-people and was opened on the Evening of 19th December 1872. “The 3-Storey Venetian Gothic looking Building with its coloured Voussoir Stones to the Arches provided an imposing Façade of bold Design – Concrete was used for the 1st Time on any significant scale in Scotland for the side & back walls” – J Littlejohn

1897 Structural alterations by Matcham to the Phipps Building

In January 1897, the pre-eminent Theatre Architect Frank Matcham carried out “structural alterations and improvements” – This consisted of “improvements to safety precautions & ventilation with more spacious exits provided throughout the House”. The above alterations were no doubt carried out in Light of the Tragic Fire at the People’s Palace of Varieties, Bridge Place in Aberdeen in 1896.

People’s Palace of Varieties

The Palace was built following Destruction by fire in 1896 of the People’s Palace on the same Site. The Interior of the New Palace, originally with 2-Tiers and of vigorous Oriental appearance, was completely gutted to the Shell Walls in 1929 and re-Built, re-Opening as a Cinema with 1-Balcony in 1931. The 4-Storey asymmetrical Granite Façade survives largely intact, but this is a crude design of Industrial Quality – plain with a Pediment over the 3-Central Bays and 3 Large Doorways with thin broken Segmental Pediments.

The New Variety Theatre in Bridge Place, which had been built by Messrs Livermore Brothers in place of the old People’s Palace, destroyed by Fire, was Opened. The Proprietors have certainly spared no expense, and the result is a Building, spacious, handsome, admirably contrived, comfortably arranged & chastely decorated. Seating accommodation is provided for 1,800-persons, although the generous apportionment of space will permit of a very much larger Audience. Alike in construction and equipment, the Building is a Model Theatre. Stage Fittings, Lighting, Heating & Ventilating apparatus are of the most modern type; everything is of the best. The total cost, exclusive of Site, was £15,000.

The Building is designed in the Italian Venetian style of Architecture. The Front Elevation to Bridge Place is divided into a Central Facade, with 2-Side Wings; the Façade has Ornamental Fluted Pilasters and is surmounted by a massive Cornice & Pediment. In the Centre is the Main Entrance, which is Ornamented with finely-dressed Pilasters of Kemnay Granite running up either side, with carved Truss Blocks over the Capitals, and a rich Pediment capped by a Cornice. On either side of the Main Entrance are 2 other large Doorways. Every care, it need hardly be said, has been taken to ensure that in the event of a Panic there shall be no repetition of the dire circumstances that attended the burning of the old Building. In addition to the Doors already mentioned, there are 4 giving access to Crown Terrace, and altogether there are 14-Exits from the Auditorium by which the Audience could escape from an outbreak of Fire. All the Doors open Outwardly and can be opened by a child.

The Main Entrance gives access to the Stalls, which are on the Ground Floor. Passing over the Mosaic Tiled Floor of the Vestibule, the Visitor ascends a short flight of Marble Steps, 10-ft long, to a spacious Promenade that runs around 3-sides of the Building. In front of this Promenade, and under the Balcony or Grand Circle, are the Pit Stalls, and in the area of the Hall are the Reserved Stalls & Orchestra Stalls. The handsome Lounges are upholstered in Peacock plush, and the Floor is covered with a heavy velvet – pile Carpet. The Reserved Stalls, of which there are 7-Rows, occupy the back part of the area. Comfortable tip-up Chairs, upholstered in crimson velvet, are provided, and the Floor is covered with Brussels Carpet. The Stalls can accommodate about 200-persons.

Upstairs is the Grand Circle or Balcony, running round in the form of a Semi-circle. The Balcony is seated for between 300 & 400, and the Promenade could accommodate from 200 to 300 more. Behind the Grand Circle are the Private Boxes, 9 in No. which are furnished & decorated in the most lavish style. While they are at the rear of the Hall, and are not seen from most parts of the Theatre, the Boxes command an excellent view of the Stage. On the next Floor is the Amphitheatre, another Large Gallery, capable of seating about 500, and behind it, away up under the Roof, is a limited range of accommodation for the “Gods.” In addition, the 4-Doors in Crown-Terrace open directly on the Balcony & Galleries. There is also a private Stair from one of the Side entrances to the Boxes.

In size & equipment, the Stage is in keeping with the other parts of the Building. It is 38-ft wide by 34-ft deep. The Scenery, which is entirely new, cost £350, and the large pile plush Curtain, in colours of Flame & old Gold, alone cost 120-Guineas. Overall is an Asbestos Curtain, which would effectually prevent an outbreak of Fire in the Proscenium from Spreading to the Auditorium. Ample provision has been made for the Accommodation & Comfort of the Artists. There are 6-Dressing-rooms on each side of the Stage, with Lavatories in addition, and there are also 2-Staircases leading from the Stage to the Dressing-rooms & Exits. The Ceiling is richly decorated in delicate colours, and the upper Walls have panels containing various appropriate Figures & Scenes designed & executed by Local & London Artists. The Gallery Fronts are richly encased with carton-pierre enrichments in relief, and the work is treated in tints that harmonise with the more striking Embellishments of the Walls. The lower Walls are hung with heavy Japanese Paper, and the numerous Columns & Pillars are tastefully decorated.

The Theatre will be entirely Lit by Electricity. The 90-Footlights on the Sage are each of 16-Candle-power, and there are also 2-Electroliers of 20-lights each suspended from the Roof. Numerous smaller Lights illuminate the stairs & corridors. Altogether, there are in the Building 370-Lights, with a total candle-power of 27,000. In Front of the Building in Bridge-Place will be fixed 6-arc-lamps of 250-candle-power each, and 4 similar Lamps will adorn the Front of Crown Terrace.

The Plaster is fixed on patent Steel Lathing instead of on Wood Lathing, and the Joisting, Beams & Rafters of the Galleries are all of Steel. Nothing, in short, has been omitted that is likely to conduce to the comfort & safety of Visitors, and Livermore Brothers and their energetic Manager, Mr Sheldon, as well as Mr John Rust Jr, the Architect (inset), are to be congratulated on the completion of so handsome a Building.

After referring to the high character of their Entertainments, he called on the Architect of the Theatre Mr John Rust, City Architect, who said that he was Commissioned by Messrs Livermore Brothers to make the place as good as it could possibly be done for money, and he hoped the Proprietors would have a good dividend out of the House night after night. Variety Entertainment, such as was provided at the Palace, was as worthy of the Patronage of all classes in the Community as the ordinary Theatre.

Cooks Royal Circus Aberdeen

A world-famous Equestrian establishment, the Cooke’s Royal Circus provided Family Entertainment in Aberdeen for 125-yrs. One of the stars of the show, John Henry Cooke, was born in New York. Part of the 5th Generation of the family, John Henry Cooke began acting at the age of 4 and was an expert Tightrope Walker by the time he was 5-yrs old. At 18, he was known as the “Champion Equestrian of the Universe“. When he was young, John Henry Cooke moved with his Family to Aberdeen, where he would grow up to entertain & amuse the Public with his Equestrian & Gymnastic Skills. Cooke’s Royal Circus programmes, which advertised equestrian acts and performances in Aberdeen from around 1880.

Conflagration: The most serious Fire which has occurred in Aberdeen for many years occurred 30th September 1896, when the Music Hall in Bridge Place known as “The Palace of Varieties” was burned to the ground. The Fire broke out shortly after the commencement of the Evening’s Performance, and in the stampede upwards of 30 people were more or less seriously burned & injured. The Music Hall has a Frontage to Bridge Place of about 50-ft, the Rear being to Crown Terrace; while to the East is situated a Photographer’s Studio & a Restaurant, the latter forming a corner to Bridge Street, Internally, The Hall was Circular in form, and was originally adapted for a Circus by Mr John Henry Cooke. Latterly, however, the Building was turned into a Music Hall by the Livermore Brothers, and Performances have gone on regularly during the Season under their auspices. As a place of Amusement The Palace, as it was called, was very popular, and usually drew large Audiences. The Bill for last night was described as “a special Company for the Holidays.” Fortunately, the Autumn Holiday was observed in the City on Monday, and on that Account, the “House” was smaller than it might otherwise have been. The area was thinly filled, but the Gallery & Promenades were fairly well occupied. Just after the 2nd “turn” by O’Connor & Martrey, described as eccentric Comedians & Dancers, the Curtain was rung down, and preparations were being made for the next item on the Programme. Without a moment’s warning the Audience were startled by seeing a red glare through the Drop Scene. The import of this was all too evident. A Fire had broken out in the top of the Flies among the Scenery to be used in the 3rd Act, and it is supposed the inflammable material had come in contact with the Gas Jets. An Attendant at once rushed to the spot and attempted to extinguish the Blaze. His Hands got badly scorched, however, and he had to desist. Then Mr Russell, the Assistant Stage Manager, went to the Front and calmly advised the people to Retire. At the same moment almost, Peter McIntosh, the Bill Inspector, rushed across the street to the Bath Hotel, and telephoned for the Fire Brigade. With a rapidity that baffled all subsequent efforts, the Flames burst through the Roof, and then seized on the Wooden Interior. A wild rush was made by the Audience for the Exits. They scrambled through the narrow passages and down the Stairs leading to Bridge Place. As indicated, it was fortunate that the House was not filled as it usually is, otherwise the consequences would unquestionably have been very terrible. As it was, the results were disastrous. The people tumbled over each other in their efforts to get out. Clothes were torn, and serious personal injuries were received, while those who escaped the crush had a worse fate in being terribly scorched by the rapidly advancing Flames. The Fire spread through the Building and had attacked the whole Wooden Framework before the last of the Audience gained the Street, and several people had to be dragged from what was soon a Fiery Furnace. The Artistes, about 12 in number, had barely time to gain the passage leading to the Street, and several Ladies were practically in deshabilé. They were carefully attended to by Mr Thomson in the Bath Hotel. One of the Artistes, in his anxiety to save some of his Property, threw a Dress Basket in the direction of the Exit door, but unfortunately, it blocked the way, and a number of people who rushed out by that particular passage tumbled over the obstacle and created a somewhat serious congestion. Then it turned out that the Door was Locked, and it was burst open – a man having previously got out by smashing the glass & clambering through the fanlight. One of the Audience leapt from the Gallery Window to the Street and sustained a fracture of the leg. In the panic a man named Charles Cooper ran back to rescue his wife, and she was got safely out although severely burned, her husband in his gallant effort also being badly scorched. Both were afterwards removed to the Infirmary. A baby of 5-months was snatched from its mother’s arms, and is missing. In the course of the Conflagration the Gas Exploded with a terrific noise, and the heat was so fierce that the glass of the house windows in the vicinity was cracked. The full strength of the Brigade was present under Firemaster Inkster, but the Fire practically burned itself out. Streams of Water were poured upon the burning mass both from Bridge Place & Crown Terrace, the end of the latter Thoroughfare just overlooking the Hall. A tremendous crowd congregated in the Streets, but the Operations of the Firemen were not hampered, Chief-Constable Wyness and a force of Policemen Regulating the movements of the Spectators. A detachment of Gordon Highlanders did splendid Service in the Extinguishing operations. All the injured were removed to the Infirmary. The Scotsman, 1st October 1896

McGonagall Poem on the Disaster at the Palace

Re-opened in 1898 as the Palace Theatre, seating 1800 over 2-Tiers. Films introduced in 1911.

Interior rebuilt 1931, 2000 seats.

Top Rank Ballroom from 1959 & Nightclub since 1976.

His Majesty’s Theatre: The 3-Bastions, Education, Salvation & Damnation. Library, Church & Theatre.

His Majesty’s Theatre 1st Opened its Doors on 3rd December 1906 with the Pantomime Little Red Riding Hood. Costing £35,000 to Build, it was designed by the pre-eminent Theatre Architect Frank Matcham. Local Tradesmen built it entirely of Kemnay Granite, making it the only Theatre of its type in the World. Together with the Public Library & St Mark’s Church, these 3-Central Landmarks of Aberdeen became known as ‘Education, Salvation & Damnation‘. Following the Purchase of the Theatre in 1933 by James F Donald, it was closed for a year, during which a refurbishment took place at a cost of £15,000. A significant change was the introduction of Swing seats to replace the Benches in the Balcony making the capacity 1800. A revolving Stage was installed to allow a quick change from Film to Theatre making the Theatre the most technically advanced in Scotland. HMT hosted Stars including Noel Coward, Vivien Leigh, Sean Connery, Errol Flynn, Harry Lauder, Charlton Heston, Jimmy Logan, Sir Ian McKellan, Timothy West & Robbie Coltrane to name but a few.

In 1975 the Building was Sold to the Council for £250,000. However, by the late 1970‘s new Health & Safety Laws meant that the Theatre would have to be substantially renovated or face Closure. The Council, therefore, allocated £3.5M in 1979 to ensure the survival of Aberdeen’s Theatrical Gem. A new counterweight Fly System was installed Backstage, allowing the Theatre to accommodate Sophisticated West End Productions. The Front of House area was restored.

The curtain at His Majesty’s Theatre went down again on Saturday 13th March 2004 and marked the beginning of an ambitious £7.8M redevelopment project – the results of which we see today. This Project would not have been possible without the generous contribution of our core Funders – Aberdeen City Council, The Scottish Arts Council Lottery Fund & Scottish Enterprise Grampian. We also acknowledge the generous support for the project from Companies & Individuals through the HM Tomorrow Fundraising Campaign. New life has been breathed into this grand Edwardian building to help ensure HMT continues to attract a wide range of top quality Theatre Productions. The Auditorium has been sympathetically refurbished to retain its stunning Edwardian colour scheme, as befits a Grade-A Listed Building. Comfort levels have been improved by re-upholstering the Seats and increasing the legroom in the Stalls. The Stalls Seats have also been offset to improve sightlines and further enhance the comfort of our Customers.