The Drama of Wallpaper - WHS visit Leeds Grand Theatre

A theatre is perhaps not the first place you might think of to go searching for historic wallpapers, but every one of the 15 WHS members who joined our recent visit to Leeds Grand Theatre would acknowledge that this architectural gem offers a rich display of interior decoration, notably including recently discovered and restored wallcoverings, that is not to be missed.

WHS members on the stage of Leeds Grand Theatre. Photo Ben Fletcher

Known locally as the ’Grand Old Lady of Leeds’, this magnificent palace of entertainment, now home to Opera North and Northern Ballet, was designed by architect George Corson and builder James Robertson Watson and opened in 1878, a mere 13 months after construction work started and a staggering achievement given the size, structure and level of ornamental detail. With its rich reds, greens and gold, it incorporates Romanesque, Gothic and Scottish baronial elements into a prime example of High Victorian style. The Grade II* listed building, happily saved from demolition in 1969, underwent a major restoration in 2005-6 and is now equipped to play host to large-scale shows.

Rachel Lythe and George Bogojevic with a Lincrusta pattern book showing designs used in the theatre. Photo Ben Fletcher

To start the visit we enjoyed coffee in the supper room while Rachel Lythe, Head of Learning, talked us through the origins of the building,  highlighting two of the key figures, founder Charles Thornton, who also built the local shopping arcade, and actor-manager Wilson Barrett who was justly proud of the theatre’s 400 gas jets for lighting and state-of-the-art sprinkler system. Although the theatre was designed to ‘educate and edify’ the local people, a strict hierarchy of entrances meant that while patrons sitting in the better seats could use the grand front door, those in the pits had to scurry round to the side. However, once inside, everyone could enjoy the grandeur of the gilded auditorium.

WHS members admire Sanderson print rollers used for the restoration. Photo Ben Fletcher

We were lucky to have with us George Bogojevic, who has been the resident decorator for Leeds Heritage Theatres for the last 10 years. As a result of George’s research at the West Yorkshire Archives and within the theatre, he has been able to compile a dossier of the high-relief papers used from producers such as Tynecastle, Lincrusta and Anaglypta which has helped identify part of the original layout of the entrance into the auditorium. His work has also aided in the discovery of the original colour schemes of red and green. In George and Alan Dawson, who has headed up the general restoration of the theatre, we had two excellent and enthusiastic guides for our tour.

Lincrusta panels effectively imitating plasterwork. Photo Caroline Bennett-Jane

The original design from a 1935 pattern book. Photo Ben Fletcher

Extensive use was made throughout the theatre of embossed wallpapers produced by Tynecastle and Lincrusta, companies both founded in the 1870s, for ceilings, panels and relief decoration, which, by so closely mimicking plasterwork, created a feeling of luxury which endures today. George explained how difficult it can be to tell the difference between painted plasterwork and good quality painted embossed paper. We were shown a Lincrusta pattern book from 1935 which showcased a variety of embossed papers, including the classical relief panels chosen for the bottom of the grand staircase.

Theatre boxes with the restored Pugin-style wallpaper. Photo Caroline Bennett-Jane

In the boxes and Circle-level back walls of the sweeping auditorium, a classic Pugin-style Gothic wallpaper featuring a trefoil design in red was reinforced and restored by George as part of a 12-week renovation of the theatre in 2024. The design was traced back to Sanderson, who were able to reproduce a like-for-like paper based on a sample of the original, albeit in a red colourway rather than the original green, transferring what had been a hand-blocked design onto a roller. This will form part of a display, along with a sample of the original wallpaper, that George is planning to create for the theatre.

Alan Dawson decribes the stained glass of the circle bar. Photo Ben Fletcher

The glorious Dress Circle bar, with its stunning curve of stained-glass windows, is currently wallpapered in a 1980s green stripe, but, following discovery of a design scheme in the archives dating back to the early 20^th century, George plans to restore the original gold leaf and theatrical red patterned wallpaper, also traced back to Sanderson.

George shows the group the recently discovered original mood board. Photo Ben Fletcher

In the VIP Bar 1878, the restoration scheme is already complete. Here the wallpaper, a modern Art Deco Lincrusta paper called ‘Fanfare’, conjures up the luxury of the 1920s, the heyday of the theatre.

'Fanfare' design for the VIP bar. Photo Caroline Bennett-Jane

The wallpaper in situ. Photo Caroline Bennett-Jane

What with the opportunity to visit the Royal Box where Queen Elizabeth II had sat to enjoy a performance and the chance to stand on the stage and gaze out at the awe-inspiring 1500-seat red and gold auditorium with its stunning domed ceiling complete with spectacular Waterford Crystal chandelier boosting 6389 crystals, we felt very honoured to be invited on this visit. Our thanks go to George and Alan, who explained the restoration work to us so vividly and with such evident passion, as well as to Rachel and the theatre team. We are very grateful to Caroline Bennett-Jane who organised the trip for us.

Lucy Ellis