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THEATRE NAMES: The High and the (Not So) Mighty

The name of a theatre becomes an integral part of its identity, yet the influences at work in
choosing the name are often ignored or taken for granted.
Cameron Hall considers possible motivations in selecting a name,
and the origin of some of the more imaginative ones.

Originality was generally not a
feature of the Australian theatre-naming
experience, and many are
unremarkable. Popular names given to
Australia’s theatres were usually
already in use in Britain and/or the
United States, if not elsewhere. Often
the intention underlying the choice was
simply to identify the venue with its
precinct: Northcote Theatre, Fairfield
Theatre. Unadorned truth, it was
hoped, would engender a sense of
identification and pride within the local
community. Sometimes the corporate
brand preceded the locality, as in
Metro Malvern, Hoyts Bentleigh.
However, as in life, aspirations vary.
Any society has its cultural elite and
the theatre world has certainly done its
best to accommodate them. Names
such as Regent, Capitol and State
convey imperial images that promise
new heights of distinction. Proprietors
could generally rest comfortably in the
knowledge that such venues delivered
upon their promises.
Also on the lofty peak of aspiration
are names that pay homage to the
monarchy: Alexandra, Empress,
Prince Edward, Her Majesty’s,
Prince George, Princess, Theatre
Royal, or Queens. These serve the dual
purpose of paying homage and using
royalty as a lure of distinction. Homage
can also acknowledge individual
service or merit: the Hamer Theatre,
the Erwin Rado Theatre.
Then there is a somewhat
pretentious cluster of names, which are
always foreign. Alhambra, La Scala,
Paris and Trocadero conjure romance
or mystery, in which the sense of the
exotic is foremost and invariably
European.
At the opposite end of the spectrum Top: Entrance to the Lion Court at the Alhambra, one marvel from the occupation of
are names that appeal to egalitarian Spain by the Moors. Above: Melbourne’s Alhambra.The statues were a gesture to an
instincts. This genre is more evident in illustrious namesake, even if from the wrong culture.
the United Kingdom, not to mention
the former soviet nations and Melbourne examples included Our city’s rich history of theatre
communist republics with their Theatre in Camberwell and the Civic, construction meant that choice here was
‘Peoples theatres’. A wonderful in nearby Ashburton. as wide ranging as anywhere in
example of the English variety is the For practical reasons, the following Australia. An active imagination is
Everyman Theatre in Hampstead examples of (usually) classic names, often helpful when considering the
where Noel Coward’s controversial and their match to a specific theatre, are nexus between the venue and its source
play The Vortex premiered in 1924. all from Melbourne. Nonetheless, the of inspiration.

8 2005 CINEMARECORD