Smock Alley Theatre, 1662 — Attraction in Dublin

Since the 17th century there have been numerous theatres in Dublin with the name of Smock Alley.

The current Smock Alley Theatre is a 21st-century theatre in Dublin, converted from a 19th-century church building, incorporating structural material from an 18th-century theatre building, and built on the site of the 17th century Theatre Royal, Dublin. The present theatre was opened in 2012, after a €3.5 million investment.

The Smock Alley Theatre site comprises Smock Alley Theatre (178 seats), The Boys School (60 - 100 capacity), Black Box (80 capacity), and The Banquet Hall (300 capacity).

The first Theatre Royal was opened on the site by John Ogilby in 1662. Ogilby, who was the first Irish Master of the Revels, had previously run the New Theatre in Werburgh Street, which had closed during the Puritan interregnum. This building was entirely demolished, with a new theatre replacing it in 1735. This second building was active as a theatre until 1759, with a brief later revival until its final closure in 1787.

In 1758, another rival theatre opened, and eventually the Theatre Royal at Smock Alley closed in 1787. After this, the building was used as a whiskey store, falling into heavy disrepair before purchase by Fr Michael Blake in 1811.

The structure of the derelict building was partially demolished, and the new church incorporated some of this original theatre structure into its own during the building work, which was carried out between 1811 and 1815. The resultant new building was named St Michael and John's Church, after the medieval churches of St Michael of the Hill (now Dublinia) and St John of Booth Street (Fishamble Street). It had a famous stained glass window that is now in Swords. The theatre still boasts ornate stained glass windows and ceiling plasterwork which dates from the turn of the 20th century.

When the bell tolled in 1811, 18 years before Catholic Emancipation; it was the first Catholic bell to ring in Dublin in nearly 300 years. This prompted the aldermen of the city to bring charges against Fr Blake, though these charges were dropped when young lawyer Daniel O'Connell came to his defence.

In 1989, due to falling numbers of parishioners the church of St Michael and John was deconsecrated. It was then redeveloped (part of the Temple Bar rejuvenation scheme) into the 'Viking Adventure' which was closed down in 2002.

In 2009, a full archaeological excavation took place under Margaret Gowan Archaeology. The dig revealed part of the foundations from the first theatre on the site built in 1662, and the full basement and foundation plan of the 1735 theatre.

A total of 229 artefacts were recovered from the excavations, these included medieval and post-medieval pottery, glass finds (mostly wine bottles), clay tobacco-pipe fragments, an actor's wig curler, a medieval roof tile, fragments of mosaic floor and many oyster shells, remnants of the building's...

Today’s performance of Into the Woods at Smock Alley Theatre was an absolute triumph of student theatre. From the moment the Narrator began, the audience was drawn into a vibrant and emotionally layered fairytale world. The Baker’s Wife delivered a stunning performance — her vocal control, expression, and emotional depth were truly exceptional. Her rendition of “Moments in the Woods” was a highlight, capturing the complexity of her character with grace and power.

Cinderella brought a quiet strength to her role, and her crystal-clear voice soared through the theatre. She made “On the Steps of the Palace” feel both fresh and profound, earning well-deserved applause. Little Red Riding Hood brought the house down with her sass and timing, balancing innocence with bold, comedic charm. Her singing was pitch-perfect and delivered with a mischievous energy that lit up the stage.

The Baker was a standout for his comic timing and heartfelt performance. He brought real warmth to the role, grounding the show with a sense of honesty and relatability. Jack, of Beanstalk fame, was another comedic gem — his countenance, delivery, and boyish charm made his scenes thoroughly enjoyable. As Phoebe said in Friends - “Jack really did love his cow” and boy did we know they were best friends throughout this performance. The Baker’s Father had less stage time, but made every second count with a commanding presence and seasoned experience.

There were many other stand out performances, but too many to mention here.

The entire cast was tightly choreographed and beautifully in sync, navigating Sondheim’s complex score with remarkable precision. The ensemble harmonies were rich, and the energy on stage never dipped, not even for a moment. Set design was minimal but inventive, making excellent use of the intimate Smock Alley space. Costume choices felt fresh and thoughtful, adding depth to each character without overpowering the story.

What struck my friends in the audience was how fast the 2.5-hour production flew by — a testament to the quality of the performance. The show was engaging, emotionally rich, and often laugh-out-loud funny. You could feel the crowd leaning in, completely immersed in the action from start to finish. Honestly, this production felt more than capable of holding its own on the stage of the Bord Gáis Energy Theatre. It was ambitious, professional, and moving — a brilliant night of theatre that will encourage us to seek out future offerings of Trinity Musical...

As a couple planning our wedding from the US, booking a venue sight unseen can be a leap of faith. However, our decision to choose Smock Alley Theatre in Dublin, Ireland, was one we are eternally grateful for. When we finally visited in January, we were absolutely delighted to discover that the venue was even more beautiful and captivating than the pictures could convey. Its rich history and refined charm created an incredibly atmospheric and utterly amazing spot to get married.

A significant part of what made this experience so seamless and enjoyable was the extraordinary work of Sarah O'Neill. From across the Atlantic, Sarah went above and beyond to guide us through every detail of the venue. Her clear and comprehensive communication on what was possible – from dinner arrangements and seating layouts to AV capabilities – ensured we felt fully informed and confident in our choices, even with the distance. Her dedication was truly invaluable.

On the day of our wedding, the venue and its team were simply perfect. Smock Alley Theatre was as picturesque as we had envisioned, and the staff were incredibly kind, efficient, and clearly committed to ensuring our day went off without a hitch. Whether our musician needed help with the sound system, our officiant required a microphone adjustment, or we needed a champagne toast ready at precisely the right moment, the team was on it – attentive, responsive, and always with a friendly demeanor. These amazing folks truly made all the difference.

And the venue itself? Simply stunning. Smock Alley Theatre's history is palpable and contributes immensely to its unique character. From its origins as the Theatre Royal in 1662 to its transformation into St. Michael's Church in 1815, the building beautifully blends the architectural and atmospheric elements of each of its past lives. The exquisite stained glass, the warm hardwood floors, and the intriguing lower-level theatre all contribute to a space that is once again a bustling hub of theatre, song, dance, art, and creativity. It is truly an amazing space to celebrate a wedding, offering a sense of grandeur and intimacy all at once.

We are so incredibly glad that we chose to bring our ceremony to Smock Alley Theatre, and we are confident that you...