In 1799, Mr. Alexander Archer was manager of the Duke Street Theatre. Upon stripping the paper from the walls of 34, Bond Street, on the 20th of May, in the present year, to effect some alterations, a relic in the character of a “play bill,” was brought to light. It is thus worded: “Engagement of Mr. Quick. Doors open at half-past six. Begin precisely at 7 o’clock. Mr. Quick’s fifth night. Theatre Brighthelmston. On Tuesday, July 13th, 1802, will be performed the admired comedy of _She Stoops to Conquer_; the part of ‘Tony Lumpkin,’ by Mr. Quick. After which will be added _St. Patrick’s-Day_, _or the Scheming Lieutenant_. Lee, Printer, Brighton.” The house had just been vacated by the descendants of Johnson, who for many years was the bill-sticker of the town. The first stone of the present Theatre was laid on the 24th of September, 1806, by Mr. Brunton, senr.; and the building was opened on Saturday, the 6th of June, 1807, with the tragedy of _Hamlet_, when Mr. and Mrs. Charles Kemble represented the Prince and Ophelia. The _Brighton Ambulator_—a publication almost extinct,—thus speaks of the present theatre as it was when opened by the first lessee, Mr. Trotter:— THE THEATRE. This place of public amusement is situated in the New Road, leading into North Street. It is a very handsome structure, having a colonnade, which runs along its whole front, supported by neat stone pillars. The entrance into the Boxes is in the centre; and that to the Pit is on the right, and the Gallery on the left of the building. The interior has two tier of boxes. The Prince Regent’s box is on the left of the stage, divided from the other boxes by an iron lattice work, gilded, which gives it a pleasing and private appearance. The pit and gallery are well constructed for the audience, particularly the latter, which has a prominent view of the stage. The house is illuminated by nine cut-glass chandeliers, and a range of patent lamps at the foot of the stage. The stage is exceedingly convenient, and has a length proportioned to the structure. The whole is fitted up with a tasteful elegance, and we must acknowledge, that it reflects honour on the discriminate judgment of Mr. Trotter, the manager. This account of the theatre describes it as it was more than half a century since; as of late years it has been, externally and internally, greatly modernized: although the chief lighting attraction in its transition from oil and wax to gas, a noble and well supplied chandelier, which was lowered and raised at pleasure over the centre of the pit, has long since been removed, the light from it detracting from the scenic effect, and the great heat which it disseminated militating against the comfort of the audience, especially the “gods.”