Piccadilly Theatre and Arcade

Statement of Significance

The Piccadilly Theatre and Arcade, although partly altered, is one of the best cinematic examples of the Art Deco style still extant in the country, and further­ more constitutes one of a number ·designed by William T. Leighton* . The others include the Windsor in Nedlands (1937), the Cygnet in Como (1938), the Astor in Mt. Lawley (1939) and the Lyric in Bunbury (1937) - the latter two remodelled from existing theatres. After the demolition of the Metro Theatre in William Street , the Piccadilly remains Leighton 's greatest achievement in Western Australia. Commissioned by the gold-mining entrepreneur, Claude de Bernales, the Piccadilly complex represents the culmination of the wave of prosperity which swept over Perth during the latter half of the decade and retains an air of Art Deco Moderne elegance from the period in which it was built, immediately prior to World War Two. The site had been occupied by Collins House and the Freedman building which had been leased in part to Cecil Breckler, descendent of Barney Silbert. Daisy Breckler owned a shoe arcade named "Daisy Walk" at the Hay Street end of the building, which had operated from 1915 until 1936/7 when the Piccadilly Arcade had been developed on the site. The former "Daisy Walk" and later Piccadilly Arcade was situated immediately opposite Harris, Scarfe and Sandovers (now demolished) and with the Airways Arcade fronting St. George's Terrace, provided a direct link up Howard Street from Mounts Bay Road. Piccadilly Arcade then gave a direct route to the Commonwealth Bank and the Railway Station beyond and as constituted part of this busy walkway since 1938. The Piccadilly Theatre and Arcade, although partly altered, is one of the best cinematic examples of the Art Deco style still extant in the country, and further­ more constitutes one of a number ·designed by William T. Leighton* . The others include the Windsor in Nedlands (1937), the Cygnet in Como (1938), the Astor in Mt. Lawley (1939) and the Lyric in Bunbury (1937) - the latter two remodelled from existing theatres. After the demolition of the Metro Theatre in William Street , the Piccadilly remains Leighton 's greatest achievement in Western Australia. Commissioned by the gold-mining entrepreneur, Claude de Bernales, the Piccadilly complex represents the culmination of the wave of prosperity which swept over Perth during the latter half of the decade and retains an air of Art Deco Moderne elegance from the period in which it was built, immediately prior to World War Two. The site had been occupied by Collins House and the Freedman building which had been leased in part to Cecil Breckler, descendent of Barney Silbert. Daisy Breckler owned a shoe arcade named "Daisy Walk" at the Hay Street end of the building, which had operated from 1915 until 1936/7 when the Piccadilly Arcade had been developed on the site. The former "Daisy Walk" and later Piccadilly Arcade was situated immediately opposite Harris, Scarfe and Sandovers (now demolished) and with the Airways Arcade fronting St. George's Terrace, provided a direct link up Howard Street from Mounts Bay Road. Piccadilly Arcade then gave a direct route to the Commonwealth Bank and the Railway Station beyond and as constituted part of this busy walkway since 1938.Rising above the complex, the tower backing the bio box represents Perth's aspirations to Modernism in those few short years of prosperity just prior to the Second World War, and is still a well known landmark in Central Hay Street.

Physical Description

The theatre, constructed of cement-rendered brick and decorated in the Art Deco manner, incorporates a rectangular street elevation with superb chunky lettering, reminiscent of Cubist examples, spelling out the theatre's name, and a medallion-styled face plaque which is mindful of the tragic theatre. Al though subtly altered by Ian Tucker in 19e Leighton's marvelous letters of the Bauhaus style typeface still advertise the delightful theatre entrance. All the way up the stairs are typical examples of the Art Deco Moderne style, many of which are untouched from Leigh ton's original work. A t the stair landing, panelled in alternate stripes of black and onyx glass, there is a mirror designed as a decorative element in itself, apart from the inherent mirroring effect. The applied design incorporates etched stripes, lettering indicating the way to the theatre and an almost cubist head black. The incised stripes on the ceiling are in accord with the local style and are an excel lent example of the skilled tradesmen, craftsmen and artists who lived and worked in Western Australia during the period. The intricate work carried out on the fibrous plaster sheet moulding is a fine example of H. B. Brady . Inside the foyer, the etched mirror is typical of the Art Deco style, likewise the entrance to the Ladies' and Gentlemen’s' toilets. Nautical touches, favoured by Leighton in several of the cinemas of the period can be noted in the chrome balustrading, the circular light fitting and mirror on the landing and the porthole-window announcing the Manager's office. Ship-like pillars support both decks which led down to the foyers serv icing both lounge and dress circles. In keeping with today's cinema-going climate, Ian Tucker has reduced the seating capaci ty from 1,300 to 750 and the foyer which once serviced the lounge is now occupied by business house.- ) The auditorium makes use of clever fibrous plaster work in heavy bands ) which run the length of the theatre. Originally this emphasised the narrowness of the theatre, necessitated by the breadth of the ci ty block and by the requirements that kept the beam of the projector to a minimum angle. The bands in the ceiling, also the work of H.B. Brady, cleverly hide the indirect lighting and some of the sections show interesting use of acoustic panelling to obtain variation . curved plaster reliefs depicting the gamboll ing nudes reminiscent of the "freedom between the wars" and the words "Comedy and Drama" are incorporated into this delightful arrangement, now, since the alterations of 1984 more easily discernible to the public . Another symbol ' the day is to be seen in the ·stylised wave of prosperity incorporated the plasterwork o either side of the auditorium. Leighton was fortunate to have the services of a well known Beaux-Art­ trained sculptor, Edward Kohler, who worked to the architects design both in the Neo-classical styled figure of Atlas (ingeniously moved wh· the alterations took place) and the carefree nudes down towards the Murray Street end of Piccadilly Arcade .

History

Assessment 1988 Construction 1938 Designer William T Leighton

Uses

Historic Themes

Creation Date

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