A Grand century

Not necessarily when it was called that, however. The theatre, which celebrated its 100th birthday yesterday, has been through three name changes, beginning and ending with Grand Opera House, with the Empire and SS Empire in between.

The building's first name, and role, was the Corn Exchange. Built on the Clifford Street site of what was variously a Roman quayside, a nunnery and a brothel, the Corn Exchange opened in 1868.

Before then, corn had been sold in the open air, principally in Pavement. The new headquarters were described as "elegant, capacious and handsome" in the York Herald of October 31, 1868.

Interestingly, the same report refers to "an orchestra in the large room, as the building is to be used as a concert room, as well as for an Exchange". So its value as an arts venue was recognised from the start.

After profitable beginnings, the Corn Exchange began to struggle as corn trading drifted back to Pavement.

In 1901 the building was sold to a three-man consortium for £7,000. The consortium was headed by theatrical manager William Peacock.

As well as creating the York Grand Opera House, Mr Peacock owned theatres in Harrogate and Scarborough. He was married to Addie Blanche, daughter of Sam Adams, one-time proprietor of the Trocadero Music Hall in London.

Converting the Corn Exchange into a theatre proved tricky, and the scheduled opening was delayed several times, lastly when a joiner fell and broke his leg.

The interior design suggested opulence. The Yorkshire Architectural Society described the Dress Circle front as being "richly decorated with boldly projecting figures; the Upper Circle with figures".

After an investment of about £23,000 the Grand Opera House was opened by the Lord Mayor, Alderman Lancelot Foster, on January 20, 1902.

That night, the theatre had been perfumed with "Old English Mitcham Lavender Water by G Coverdale of York". It was in this fragrant atmosphere that patrons took their seats - priced from sixpence to £2 2s - for the first performance.

This was Little Red Riding Hood, starring Florrie Forde, who undertook 20 costume changes through the show, one of which left her in a splendid hat supposedly decorated with 17 pounds of Paris diamonds.

Her hit song was Goodbye Dolly Gray, which was selling in sheet form at a rate of 2,000 copies a week.

Later in the year, Professor Herbert's Animated Pictures were shown from the "Biograph Box" in the Gallery. These silent pictures became a permanent feature of the programme from mid-1903 to 1916, by which time York had several cinemas and the novelty value of film had worn off.

The Grand Opera House produced a staple fare of musicals and drama, generally on a weekly basis. Variety spiced up this diet, with turns from Fred Karno's Company and revues from London's Gaiety Theatre.

To differentiate his venue from the Theatre Royal, Mr Peacock decided to turn it into a music hall. It reopened as the Opera House and Empire in July 1903, presenting Laughter Land with JW Cragg's Congress Of Comedians. The change was a hit.

"Patronage has been exceedingly liberal, proving that even the hot weather and fine evenings do not deter a certain class from patronising indoor entertainments - providing the menu is a good one," the Yorkshire Gazette commented.

Some plays were still occasionally staged here, including in 1904 Sherlock Holmes, in which Charlie Chaplin played Billy the Page, and his brother Sidney, Count von Stahlberg.

During the First World War, the Opera House hosted a series of lectures on current affairs, including Herbert Ponting's film and lecture "With Captain Scott in the Antarctic" in 1915.

The variety programme continued, and among the stars who performed here between 1916 and 1920 were Little Hylda Baker; Robb Wilton; Will Hay; Harry Shiels; and Jimmy Jewel.

Gracie Fields appeared in September 1927 in a revue "By Request", and radio star Tommy Handley took to the Clifford Street boards in March 1931 in a show called "Hello Folks".

The variety stars kept coming throughout the Thirties and Forties: Wilson Keppel, Harry Roy and Jack Doyle among them. As radio increased its importance, wireless performers such as Turner Layton, Dorothy Ward and Jack Warner were big draws. In February 1940, Florrie Forde topped the Empire bill for the last time, 38 years after opening the theatre.

Increasing rates were eating into the theatre's profitability. At the end of 1945, it was sold to FJB Theatres, owner of a chain of regional theatres.

Under the new owners, the musicals kept coming, supplemented by shows with titles such as Naughty Girls of 1946 and Don't Blush Girls.

By the Fifties, the Empire was facing tough competition from increasingly sophisticated radio variety and television. Audiences began to dwindle, and it was put up for sale again. Even nude reviews, with strategically placed boas keeping the Lord Cham-berlain's censors at bay, could not save it.

By March 1956, it was operating only through the benevolence of its creditors, and the final curtain fell on June 23.

"But this grand old variety theatre went down fighting," reported the Evening Press. "The last show, Nite-Life USA, played to an enthusiastic audience who joined in singing Auld Lang Syne at the close of the show."

After failing to attract a decent bid at auction, the future looked bleak for the Empire. Then its saviour appeared, in the form of entrepreneur Ernie Shepherd.

Mr Shepherd ran a restaurant and jewellers in Shambles, and was a millionaire from speculations on the Stock Market. He bought the Empire in 1958, renamed it the SS Empire (from the initials of his shop, Shepherd's of Shambles) and announced it would become "one of the finest entertainment centres in the North of England".

His programme began with roller skating and wrestling, though not at the same time. When variety failed to draw an audience, bingo took its place.

Mr Shepherd ran the SS Empire until 1985 when he had to let it go. His last, sad involvement was overseeing the auction of the SS Empire's fixtures and fittings. He died in 1989, when the Evening Press paid tribute to this man of "vision and courage".

The Grand Opera House was reborn that year, and continues to flourish under the present owners, the US-based ClearChannel Entertainment. Ironically, however, in the week of its centenary the theatre is "dark".

Updated: 10:42 Monday, January 21, 2002