Le monde des musicals

Version 1

Little Fish (2009-10-Finborough Theatre-London)

Type de série: Original London
Théâtre: Finborough Theatre (Londres - Angleterre)
Durée : 3 semaines
Nombre :
Première Preview : Tuesday 27 October 2009
Première : Thursday 29 October 2009
Dernière : Saturday 21 November 2009
Mise en scène : Adam Lenson •
Chorégraphie :
Producteur :
Avec : Julia Worsley (Charlotte), Michael Cantwell (Robert), Lee William-Davis (Marco), Laura Pitt-Pulford (Kathy), Katie Foster-Barnes (Anne), Nick Holder, Alana Maria, Ashley Campbell.
Presse : “This quirky little show manages to make a surprisingly big splash.” Sam Marlowe, The Times

“The Finborough has found itself another great little musical, with a few well-crafted, rounded characters, some seriously enjoyable music and a cast full of delights.” Timothy Ramsden, Reviewsgate

“A worthy alternative to formulaic feel-good musicals.” Sandra Giorgetti, British Theatre Guide

“The influence of Sondheim — and in particular of Company, his study of metropolitan singleton life — hovers in the episodic plot in a score that sets the fidgety and dissonant alongside the soaringly melodic and in lyrics that are sometimes tender, often acerbic. There’s a hint of Gershwin to the music too, with Rhapsody in Blue tingeing the tunes just enough to trace an aural image of the Manhattan skyline.” Sam Marlowe, The Times

“This European premiere for one of Broadway's new writers brings a welcome, edgy musical to the stage” Timothy Ramsden, Reviewsgate

“The first good thing to say about LaChiusa's music is that, unlike most young theatre composers of the past 40 years, he doesn't sound like imitation Sondheim or Lloyd Webber. He has his own melodic voice, simple and frequently wistful, and his best songs stand quite successfully on their own.” Gerald Berkowitz, Theatreguide London

“LaChiusa's spoken dialogue is frequently witty and incisive,” Gerald Berkowitz, Theatreguide London

“The best of the songs marry evocative lyrics to appropriate music. Perfect, about the need to accept the less-than-perfect, and Remember Me, about intimations of mortality and the value of friends, are particularly lovely and haunting, while Little Fish embodies the play's message without preaching and 90 Year Old Man captures a bit of urban imagery with a concise effectiveness Sondheim could envy.” Gerald Berkowitz, Theatreguide London

“What a difference a decade makes. Michael John LaChiusa's 2003 work, Little Fish, is a big leap away from First Lady Suite which I saw earlier in October and which frankly was rather a struggle. Little Fish is much easier to like and admire with less cliché and more insight in the lyrics and an altogether more appealing score: occasionally dissonant, but also occasionally beautifully melodic with well-turned pastiches.” Sandra Giorgetti, British Theatre Guide

“Julia Worsley’s accomplished central role.” Scott Matthewman, The Stage

“A fine central performance from Julia Worsley.” Sam Marlowe, The Times

“Julia Worsley is delightful as Charlotte, a recovering ex-girlfriend, insecure, anxious and quite remarkable.” Timothy Ramsden, Reviewsgate

“Julia Worsley is onstage and the focus of our attention uninterruptedly, and the actress carries the young woman through her slow learning curve with empathy and believability.” Gerald Berkowitz, Theatreguide London

“Several strong performances, notably from Julia Worsley as Charlotte and Lee William-Davis as Marco.” Theo Bosanquet, whatsonstage.com

“A strong cast is dominated by Laura Pitt-Pulford as the perky Kathy.” Scott Mattewman, The Stage

“Little Fish is short at just ninety minutes, but filled with fine music. Indeed, a sparkling and vivacious Laura Pitt-Pulford as Kathy sings about being Perfect - and it really is.” Timothy Ramsden, Reviewsgate

“Laura Pitt-Pulford is attractive as her perky best friend, and does full justice to the two best songs, Perfect and Remember Me.” Gerald Berkowitz, Theatreguide London

“Alana Maria is suitably fierce as scary flatmate Cinder.” Natasha Tipney, MusicOMH

“Laura Pitt-Pulford and Lee William-Davis stand out as Charlotte's friends Kathy and Marco. Their individual numbers are packed with emotion, moving but not over-sentimental” Sandra Giorgetti, British Theatre Guide

“The cast attack the material with gusto and Lee William-Davis is particularly good as Marco, investing his brief, funny song about finding himself (complete with comedy "oms") with real humour and injecting a flash of anger and pain into his account of being assaulted by his ex-boyfriend.” Natasha Tipney, MusicOMH

“Lee William-Davis as the obligatory gay pal comes close to stopping the show with the climactic Little Fish.” Gerald Berkowitz, Theatreguide London

“Katie Foster-Barnes' sweetly-sung Anne opens Charlotte's eyes to the perils of emotional flotsam and stands in sharp contrast to the sassy Cinder of Alana Maria, the flatmate who tells it how it is.” Sandra Giorgetti, British Theatre Guide

“Nick Holder's cameo as the sleazy martini-quaffing Mr Bunder is very funny as is Michael Cantwell's pompous ex-boyfriend Robert” Sandra Giorgetti, British Theatre Guide

“Michael Cantwell is brilliant as the terrifically terrible Robert, a little creepy, lacking any redeeming features and hilariously unpleasant to Charlotte.” Timothy Ramsden, Reviewsgate

“The rest of the cast are equally fine, which is a credit to Adam Lenson's skilled and sensitive direction.” Gerald Berkowitz, Theatreguide London

“There’s enough verve and bitter wit, both in LaChiusa’s writing and in Adam Lenson’s persuasive production, to keep it sharp rather than saccharine.” Sam Marlowe, The Times

“Director Adam Lenson has delivered a thoroughly enjoyable New York-flavoured musical.” Timothy Ramsden, Reviewsgate

“Director Adam Lenson and choreographer Nicholas Cunningham make good use of the open space provided by Bec Chippendale's creative and practical set which echoes the New York skyline.” Sandra Giorgetti, British Theatre Guide

“Bec Chippendale’s ingenious foldaway set, decorated in a range of aquatic blue hues, provides an elegant frame to a collection of technically accomplished, well-performed songs.” Scott Matthewman, The Stage

“Bec Chippendale's innovative set.” Theo Bosanquet, whatsonstage.com

“The band perch atop of Bec Chippendale's clever and versatile blue-brick set, the colour presumably meant to bring to mind a swimming pool, and their playing is excellent throughout.” Natasha Tipney, MusicOMH

“Nick Cunningham’s choreography provides some impressive routines” Scott Matthewman, The Stage

“The tight orchestrations of Richard Bates and Nick Cunningham's playful choreography.” Theo Bosanquet, whatsonstage.com

“Some endearing choreography by Nick Cunningham (the glittery swimming floats are a lovely touch).” Natasha Tipney, MusicOMH

“Musical director Richard Bates has done a great job with what is essentially an unconventional piece.” Sandra Giorgetti, British Theatre Guide

“A cast of excellent actor-singers who, aided by Nick Cunningham’s nimble choreography and Bec Chippendale’s ingeniously economical blue set, create a whole world of urban angst on the Finborough’s tiny stage. Its waters may not run all that deep; but they’re still well worth wading into.” Sam Marlowe, The Times

Version 2

Ordinary Days (2008-11-Finborough Theatre-London)

Type de série: Original
Théâtre: Finborough Theatre (Londres - Angleterre)
Durée : 2 semaines
Nombre :
Première Preview : Monday 03 November 2008
Première : Monday 03 November 2008
Dernière : Monday 17 November 2008
Mise en scène : Adam Lenson •
Chorégraphie :
Producteur :
Avec : Julie Atherton, Kenneth Avery-Clark, Hayley Gallivan, Lee William-Davis
Commentaires : This European premiere of a vibrant new musical introduces London to American composer and lyricist Adam Gwon, one of the most startlingly talented young musical dramatists working today. Recently named one of "50 to Watch" by The Dramatist magazine, his talents have been recognised with a much coveted $25,000 composer’s grant from Signature Theatre to develop a new full-length musical as part of the American Musical Voices Project: The Next Generation. His other musicals include the forthcoming Bernice Bobs Her Hair with librettist Julia Jordan, Ethan Frome with bookwriter Michael Ruby, and Lulu.
Presse : “London’s hottest ticket - the entire run was sold out ahead of last night’s opening. Now that’s not entirely surprising with a run this short and a theatre this small - but it also shows a hunger and appetite for this kind of work in London that is not being met elsewhere.” Mark Shenton, The Stage

“Gwon’s appearance in London with a show that only received its US premiere back in July is a heartening sign.” Mark Shenton, The Stage

“Told entirely in song (and brilliantly-written song at that), the action moves between two couples who are struggling to see what’s in front of their eyes, the sometimes literal bigger picture in their lives.” Carol Gordon, Whatsonstage

“The Finborough’s intimate space is transformed with a minimalist set.” Carol Gordon, Whatsonstage

“The accomplished cast taking us on a journey of growth, understanding and love.” Carol Gordon, Whatsonstage

“A bright and witty show, convincingly performed by four talented actors with verve and wonderful comic timing.” Carol Gordon, Whatsonstage

“The singing is exceptional...Their diction, pitch and vocal depth are spot-on, with not a single missed note.” Carol Gordon, Whatsonstage

“The music (performed by Richard Healey on piano and Stephanie Harsant on cello) perfectly underlines the action from the opening to the uplifting final song.” Carol Gordon, Whatsonstage

“One suspects this won’t be the last we hear of Adam Gwon. Highly recommended.” Carol Gordon, Whatsonstage

“It heralds a lot of welcome promise. Not least for the fact of that discovery - there are now new ways for composers to reach out with their work and find creators who want to put it on. This staging duly follows a mere four months after its first production at Penn State University.” Mark Shenton, The Stage

“Gwon - trained at NYU’s Tisch School of the Arts - has a vibrant ear for melody and a strong lyrical voice.” Mark Shenton, The Stage

“The show comes across as a through-sung cross between Jason Robert Brown’s Songs for a New World and Maltby and Shire’s Closer than Ever.” Mark Shenton, The Stage

“Director Adam Lenson does a smart job of revealing the patterns and connections that are being sketched here, and giving them a carefully blended sense of fluidity.” Mark Shenton, The Stage

“Richard Healey and Stephanie Harsant anchor the songs with the lovely arrangements that they play on piano and cello respectively.” Mark Shenton, The Stage

“The production is also a testament to the love and commitment that the company bring to it, and Julie Atherton - arguably London’s leading lady of new musical voices thanks to her ongoing commitment to the Notes from New York series - is ideally complemented by the solid, full-voiced presence of Kenneth Avery-Clark, while Hayley Gallivan and Lee William-Davis bring a quirky sense of individuality to their characters.” Mark Shenton, The Stage