The History and Hauntings of the Alexandra Theatre, Birmingham

The History of the Alexandra Theatre, Birmingham

Just off Birmingham’s busy Suffolk Street Queensway stands the Alexandra Theatre — affectionately known as The Alex. For well over a century, it has been one of the city’s most important cultural landmarks. Behind its modern exterior lies a layered story of ambition, reinvention, tragedy, and theatrical triumph, stretching back to the very start of the twentieth century.

The Lyceum Theatre (1901)

The Alexandra’s story actually begins under a different name. On 27 May 1901, the Lyceum Theatre opened on John Bright Street. Designed by architects Owen and Ward and built at a cost of £10,000, it was commissioned by theatrical manager William Coutts, who hoped to create a refined venue dedicated to quality drama.

Early reports praised the Lyceum’s Renaissance-style interior, its innovative cantilevered seating, electric lighting, and modern backstage facilities. Architecturally, it was a success — but financially, it struggled.

Tragedy struck just months after opening. In February 1902, 22-year-old performer Grace Anne “Gracie” Housley collapsed and died on stage while singing Goodbye, Dolly Grey. The shock cast a shadow over the young theatre, and within little more than a year, Coutts was forced to sell the building.

The Birth of the Alexandra (1902)

Later in 1902, the theatre was purchased for £4,450 by flamboyant impresario Lester Collingwood. He immediately renamed it the Alexandra Theatre, in honour of Queen Alexandra.

Under Collingwood’s energetic management, the theatre finally found its audience. Lavish pantomimes and melodramas became its hallmark, and the Alexandra quickly earned a reputation as a Christmas favourite.

Productions such as Aladdin, Cinderella, Red Riding Hood, and Mother Goose drew large crowds and firmly embedded the theatre in Birmingham’s social life.

This promising chapter ended abruptly in September 1910 when Collingwood was killed in one of Britain’s earliest motor car accidents while travelling to Sheffield.

The Salberg Era: A Golden Age

Following Collingwood’s death, the Alexandra entered what many regard as its golden age under the ownership of Leon Salberg. A businessman who had made his fortune in South African mining, Salberg initially lacked theatrical experience — but he proved to be an exceptionally dedicated owner.

In 1927, he founded the Alexandra Repertory Company, introducing twice-nightly performances alongside the theatre’s already famous pantomimes. Under his leadership, the Alexandra gained a national reputation, particularly for the quality of its Christmas productions, which were considered among the finest in the country.

Salberg died at the theatre in 1937, passing away in his office during a performance. His son, Derek Salberg, took over the running of the theatre and remained in charge until his retirement in 1977, providing remarkable continuity through decades of change.

Rebuilding the Alexandra (1935)

One of the most dramatic moments in the theatre’s history came in 1935. The original building was demolished and completely rebuilt in the Art Deco style by architects Roland Satchwell and Ernst Roberts. The project cost £40,000 and took nine months to complete.

The new Alexandra opened on Boxing Day 1935 with Cinderella, starring Georgie Wood. Wider, more comfortable, and technically advanced, the redesigned theatre boasted improved sightlines, luxurious seating across all price levels, and a stage capable of hosting the most ambitious productions. Despite the rebuild, seating capacity was deliberately kept below 1,650 to prioritise comfort over profit.

The rebuilt Alexandra was widely praised as one of the most modern theatres in the Midlands.

War, Survival, and Change

During the First World War, the theatre hosted special performances for wounded soldiers, nurses, and sailors, reinforcing its role as both an entertainment venue and a civic institution. It continued to thrive through the interwar years and beyond, adapting to changing tastes and expectations.

By the late 1960s, however, financial pressures once again threatened its future. In 1968, Birmingham City Council purchased the Alexandra for £85,000, saving it from closure or demolition. That same year, the main entrance was relocated from John Bright Street to Suffolk Street Queensway, linked by a raised bridge — a move that increased visibility but significantly altered the original frontage.

From the Late 20th Century to Today

The Alexandra continued to evolve into the twenty-first century. In 2000, pantomime returned with a sell-out run of Peter Pan, starring Leslie Grantham and Joe Pasquale. Ownership passed through SFX Entertainment, Clear Channel, and Live Nation before settling with the Ambassador Theatre Group, during which time it became known as the New Alexandra Theatre.

In 2018, following a £650,000 refurbishment, the theatre reclaimed its historic name — The Alexandra — reopening with Motown: The Musical. After pandemic closures in 2020, the theatre reopened in 2021, marking its 120th anniversary, and has since hosted major productions including The Book of Mormon, Heathers, Bat Out of Hell, 2:22 A Ghost Story, and The Ocean at the End of the Lane.

In November 2024, the Alexandra hosted the world premiere of Here & Now, a jukebox musical based on the songs of Steps — firmly bringing the theatre’s story into the present day.

From Edwardian optimism to modern spectacle, the Alexandra Theatre has continually reinvented itself, shaped by the countless performers, staff, and audiences who have passed through its doors.

The Ghosts and Hauntings of the Alexandra Theatre

A theatre without ghosts, many say, is an incomplete one — and the Alexandra is no exception. With more than a century of continuous performance, tragedy, devotion, and late nights, it is hardly surprising that the building has accumulated a remarkable collection of paranormal reports.

Over the decades, staff, performers, and visitors have described sightings, sounds, and sensations suggesting that some of those who devoted their lives to the theatre may never have left.

Leon Salberg – The Ever-Present Manager

The most frequently reported presence is that of Leon Salberg himself. In life, he was known for greeting patrons personally and maintaining a constant presence throughout the building. In death, many believe he continues to do the same.

Sightings attributed to Salberg have been reported in the dress circle, stalls, and on the stairs leading to the original John Bright Street foyer. He is often described as a well-dressed gentleman, moving purposefully through the theatre as if still overseeing proceedings.

The Salberg Suite — now a bar — was once part of the family’s office space. One cleaner reported seeing a man unplug her vacuum cleaner and gesture with the plug in his hand. Later, she recognised the figure from photographs of Leon Salberg. The experience was so unsettling that she left her job that same day.

The Footlights Bar, formerly Salberg’s office, is also associated with him. Long-standing theatre folklore claims that actors who feel a tap on the shoulder while drinking there are being silently approved — a sign they will be invited back. The smell of cigar smoke is frequently reported in no-smoking areas, another detail often linked to Salberg.

The Wardrobe Master

Another well-known presence is believed to be a former Wardrobe Master who died in his office in the early twentieth century. In life, he was known for walking the corridors in slippers — footsteps that staff continued to hear long after his death, even after carpets were laid.

A well-known actress performing in Macbeth once encountered an elderly gentleman on the stairs who wished her good evening before walking away. Staff later confirmed that her description perfectly matched the long-deceased Wardrobe Master.

The Man in Uniform and Top Hat

One of the most striking reports involves a transparent figure dressed in a uniform with brass buttons and a top hat, believed to date from the late nineteenth or early twentieth century.

Late one night, scenic artists working on stage reported repeated waves of intense cold. On the sixth occurrence, all present witnessed a dark, transparent figure emerge from the back of the stalls, move toward the orchestra pit, and pass through a closed door — accompanied by a sound likened to coins hitting concrete.

A cleaner later reported seeing a similarly dressed figure standing at the back of the stalls. His identity remains unknown.

Dick Turner – The Man with the Keys

Dick Turner, the theatre’s Stage Manager during the 1920s and 30s, was known for carrying a large set of keys that jingled loudly as he walked. Decades later, staff continue to report the sound of jangling keys in empty backstage corridors.

Former Stage Manager Mr Freeman, who worked at the theatre until 2003, regularly heard footsteps on the stage above him while working beneath it — only to find the stage empty.

Footsteps, Music, and Unexplained Encounters

Reports of unexplained footsteps are common, particularly beneath the stage. In 2005, crew members heard someone running across the stage above them, despite no one being present.

Other experiences include old-fashioned music hall tunes heard in the stalls, disembodied footsteps, and even sightings of partial apparitions — including a pair of legs walking across a landing and vanishing through a closed door.

The Slamming Door

One of the most recent incidents occurred in April 2006 near Leon Salberg’s former office. A staff member approached a wedged-open door in a usually warm corridor and suddenly felt intense cold as the door slammed shut violently in front of him.

No natural explanation was found.

An Unfinished Curtain Call

Whether these phenomena represent intelligent hauntings, residual energy, or something else entirely remains open to interpretation. What is clear is that the Alexandra Theatre continues to inspire stories from those who work within it.

For some, the boundary between past and present feels unusually thin at the Alex — and the show, it seems, has never truly ended.

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