Editing Opera Comique (section)

===Background and early years===
In the 16th century [[Lyon's Inn]], one of the [[Inns of Chancery]] attached to London's [[Inner Temple]], stood on the site. By the 1860s the area had deteriorated greatly, and the old inn had been converted into what the historians [[Mander and Mitchenson]] describe as "dwellings of a dubious nature".<ref name=m62>Mander and Mitchenson, p. 62</ref> In 1864 part of the area was cleared, and the impresario [[Sefton Henry Parry|Sefton Parry]] built a new theatre, the [[Globe Theatre (Newcastle Street)|Globe]], which opened in 1868.<ref>Mander and Mitchenson, p. 63</ref> He acquired an adjacent site, bounded by [[Wych Street]], Holywell Street and the [[Strand, London|Strand]], on which he built the Opera Comique two years later.<ref name=m128>Mander and Mitchenson, p. 128</ref> The architect was [[Francis Fowler (architect)|Francis Fowler]].<ref name=era>"The New Opera Comique", ''[[The Era (newspaper)|The Era]]'', 30 October 1870, p. 13</ref>

Parry's construction of the theatres was a speculative venture: he hoped to make large profits from compensation when the area was demolished, which was even then in contemplation.<ref name=m62/> It remained in contemplation for more than thirty years.<ref name=mg/> The two theatres, which backed on to each other, became known as "the rickety twins":<ref>Mander and Mitchenson, pp. 67 and 133</ref> both were of such flimsy construction that performers could hear each other through the common wall.<ref name=g34>Goodman, p. 34</ref> Despite the nickname, the Opera Comique was by no means a twin of the Globe, being only about half the size, with a seating capacity of 862,<ref>Wearing, J. P. [https://www.jstor.org/stable/3206178 "The London West End Theatre in the 1890s"], ''Educational Theatre Journal'', Vol. 29, No. 3 (October 1977), pp. 320–332 {{subscription required}} {{Webarchive|url=https://web.archive.org/web/20160609050912/http://www.jstor.org/stable/3206178 |date=9 June 2016 }}</ref> compared with more than 1,500 at the Globe.<ref>"The Globe Theatre", ''The Era'', 29 November 1868, ''quoted'' in Mander and Mitchenson, pp. 63–64</ref>

Another way in which the two theatres differed was that, unlike the Globe, the Opera Comique was largely underground. It was entered through tunnels from three streets (including the Strand) and was nicknamed the "Theatre Royal Tunnels".<ref name=m128/> It was reportedly draughty, and its long flight of stairs leading down to the level of the stalls was a dangerous fire hazard.<ref>[http://www.arthurlloyd.co.uk/OperaComique.htm "The Opera Comique, East Strand, London"] {{Webarchive|url=https://web.archive.org/web/20090508114129/http://www.arthurlloyd.co.uk/OperaComique.htm |date=8 May 2009 }}, Arthur Lloyd website. Retrieved 15 April 2020</ref> Despite this and the flimsy construction, the theatre attracted high praise from the press after it opened. ''[[The Era (newspaper)|The Era]]'', commented, "For elegance of design and perfect adaptability to the requirements of dramatic art it is not surpassed, if indeed it be equalled, by any existing Theatre".<ref name=era/> Another London journal reported:
:We are almost inclined to pronounce it ''the'' prettiest theatre in London. It is in the flat horse-shoe form, the stage being well within sight and hearing of every part of the auditorium. This comprises rows of comfortable and elegant stalls on the floor, with three tiers or circles extending nearly round the house as dress-circle, family-circle, and amphitheatre, respectively, and six private boxes on either side of the stage. The design of construction reflects the highest credit on Mr F. H. Fowler, the architect, and the chaste and elegant decorations of Mr K. W. Bradwell deserve great praise.<ref>"Opera Comique", ''The Examiner and London Review'', 5 November 1870, p. 713</ref>

The theatre opened under the name "Royal Opera Comique" on 29 October 1870.<ref name=m128/> A company from the [[Théâtre Déjazet]] in Paris, led by the veteran actress [[Virginie Déjazet]], presented [[Victorien Sardou]]'s comedy ''Les Prés Saint-Gervais'' and two shorter pieces, to an audience that included the [[Edward VII|Prince of Wales]].<ref name=era/> The following year, French drama continued, when the [[Comédie-Française]] company made its first appearance outside France, an event that caused considerable interest.<ref name=m131>Mander and Mitchenson, p. 131</ref>
 
The first home-grown production at the theatre was a musical play in 1871, ''Marie'', with music by [[Richard D'Oyly Carte]] and a libretto by E. Spencer Mott. This accompanied an English adaptation of [[Molière]]'s ''[[Le Médecin malgré lui]]''. The production was not a success.<ref name=Ainger92>Ainger, p. 92; and "Original Correspondence", ''The Era'', 10 September 1871</ref> [[Opéra bouffe|Opéras bouffes]] by [[Hervé (composer)|Hervé]], [[Jacques Offenbach|Offenbach]] and [[Charles Lecocq|Lecocq]], and [[Victorian burlesque|extravaganzas]] by [[F. C. Burnand]] followed.<ref name=e98>"The Opera Comique Theatre", ''The Era'', 15 October 1898, p. 11</ref> After short seasons starring the Italian tragedienne [[Adelaide Ristori]] and then the English operetta star [[Emily Soldene]], Carte became manager of the theatre in 1874, and presented ''The Broken Branch'', an English version of [[Gaston Serpette]]'s operetta ''La branch cassée'', starring [[Pauline Rita]].<ref>"Opera Comique!, ''The Graphic'', 29 August 1874, p. 211; and "Opera Comique", '' [[The Pall Mall Gazette]]'', 29 August 1874, p. 11</ref> Carte's first attempt to found "a permanent abode for Light Opera"<ref name=m131/> failed, and the theatre passed into other hands for the next three years.<ref name=m131/>

The word "Royal" was dropped from the name of the theatre in 1876.<ref  name=m128/> Burnand and [[Charles Morton (impresario)|Charles Morton]] were both briefly managers there, presenting extravaganzas and comic operas respectively. Morton's season in 1876 included well-received productions of Offenbach's ''[[Madame l'archiduc]]'' and Lecocq's ''[[La fille de Madame Angot]]'', featuring Soldene and [[Kate Santley]] and, in the second piece, [[W. S. Penley]], promoted from the chorus. Morton also presented a successful double bill of [[Gilbert and Sullivan]]'s ''[[Trial by Jury]]'' and Offenbach's ''[[Geneviève de Brabant]]''.<ref name=e98/> After Morton a succession of managements between May 1876 and September 1877 staged productions that made little impact.<ref name=e98/>