Coronet Printroom

103-111 Notting Hill Gate,
London, W11 3LB

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20 Oct 2012

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Located in the west London inner-city district of Notting Hill. Opened as the Coronet Theatre (a playhouse) in 1898 with 1,143 seats located in stalls, balcony and gallery. It went over to screening films full time in 1923. In 1931 it was taken over by Gaumont British Theatres/Provincial Cinematograph Theatres(PCT) and re-opened on 17th August 1931 with 1,010 seats.

It was re-named Gaumont Theatre in 1950 and continued through to 1977 playing the Gaumont and Rank releases. It was taken over by the independent operator Panton Films from 27th February 1977 and re-named Coronet Cinema, with a reduced seating capacity of 399, using the stalls and balcony seating areas only.

Today, the main original auditorium is virtually intact, however a second screen with 151 seats was erected on the stage in 2002. The main original auditorium now has a seating capacity of 380, with 220 in the stalls and 160 in the balcony(the gallery is unused). In May 2004 it was purchased by a church, but remained open as a cinema.

The church sold the building in May 2014, and the Coronet Cinema closed on Thursday 29th May 2014 with “X-Men:Days of Futures Past” showing in the main original auditorium and “The Grand Budapest Hotel” and “American Hustle” showing in screen 2 on the former stage. However, this cinema remained open for two more weeks, and closed on Thursday 12th June 2014. It was the last cinema in London to operate 35mm projectors.

The Coronet Cinema was sold to the Print Room Theatre who had outgrown their Westbourne Grove home. Local architecture firm Studio Indigo formulated plans to renovate and restore the building including reopening the original auditorium as a playhouse, but also as a cinema. The screen 2 on the former stage was converted into a small live theatre space and opened 16th March 2015. The original main auditorium was renovated and re-opened on 12th September 2016 with a production of Tennessee Williams play “A Lovely Sunday for the Creve Coeur”. The Coronet Theatre is a Grade II Listed building.

Contributed by Ross Melnick, Ken Roe

Recent comments (view all 58 comments)

Ian
Ian on January 1, 2008 at 5:04 pm

Some interior shots taken in 1988 can be found here:–

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Mike (saps)
Mike (saps) on March 9, 2012 at 9:12 pm

I saw “Malcolm X” here back in 1993 or 93; I sat in the balcony, where smoking was still permitted.

A lovely, lovely house.

Robbie25646
Robbie25646 on September 7, 2012 at 3:43 pm

I was assistant manager here from 1972 till 1972 with Tony Portch as manager. I fell in love with the place the first time I walked in for my interview with Tony.

FanaticalAboutOdeon
FanaticalAboutOdeon on May 14, 2013 at 8:36 pm

Together with a group of friends, I attended a late night show at the Gaumont one Saturday evening in the early ‘70s. The programme was an Astaire/Rodgers double bill of “Top Hat” and “Swing Time” and the atmosphere in those theatrical surroundings was fantastic. My group were not able to get seats together and, shortly after we took our seats, people were being turned away. After every musical number, enthusiastic applause rang out and a very happy crowd emerged to wend their ways home in the early hours. Following the double bill’s success here, Rank’s Booking Dept. was instructed to only arrange such screenings of one film or the other as it was felt that, in the right locations, each of the films would do well on its own. Thus two profitable shows could be had. Tills, or rather Automaticket machines, would ring merrily and I can’t imagine the films would have cost much to hire. When managing the Odeon, Stockton-On-Tees, I showed “A Hard Day’s Night” and “Help!” as a late night double bill in 1970 – United Artists charged Rank £14.7s.6d for the films (£14.37) and we sold over 700 tickets. I digress!

dickneeds111
dickneeds111 on September 27, 2016 at 10:32 pm

To Sharkbites. I have just read your long ago blurb. Having been a projectionist of 35mm with 2000" reels and carbon Arc. I don’t know where you are but we never had Projectomaticin any place I worked. We never had an Ice Cream lady' we had to get up and go to the concession stand. Finall, where dis idea of waxing th`e prints come from, we just made sure we had clean aperatures and the rest took care of it self But I never heard of waxing. I am in Boston' Mass and did all my projection work 16mm, 35mm and interlock systems.

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