Le monde des musicals

Version 1

Bernarda Alba (2006-03-Lincoln Center Theatre-Off Broadway)

Type de série: Original
Théâtre: Lincoln Center for the Performing Arts (New-York - Etats-Unis)
Durée : 1 mois
Nombre :
Première Preview : 11 February 2006
Première: 06 March 2006
Dernière: 09 April 2006
Mise en scène : Graciela Daniele •
Chorégraphie : Graciela Daniele •
Producteur :
Star(s) :
Presse : For a show so dark-spirited, Bernarda Alba is remarkably lively, thanks largely to the extraordinary actors, marshaled with flair by Daniele through her trademark blend of movement and dance.

Version 2

Bernarda Alba (2008-10-BoHo Theatre-Chicago)

Type de série: Revival
Théâtre: BoHo Theatre (Chicago - Etats-Unis)
Durée : 1 mois 1 semaine
Nombre :
Première Preview : Inconnu
Première: 10 October 2008
Dernière: 16 November 2008
Mise en scène : Elizabeth Margolius •
Chorégraphie : ???? ???? •
Producteur :
Star(s) :
Presse : "This is a truly outstanding cast with excellent work offered by all" - Venus Zarris, Gay Chicago Magazine
"This is a marvelous, spell-binding musical with a wonderful cast of talented women." - Alan Bressloff, SteadStyle Chicago
"The 10 women onstage all have strong voices —the harmonization is beautiful." - Emma Ruby-Sachs, CenterStage Chicago

Version 3

Bernarda Alba (2011-08-Union Theatre-London)

Type de série: Original London
Théâtre: Union Theatre (Londres - Angleterre)
Durée : 3 semaines
Nombre :
Première Preview : 23 August 2011
Première: 25 August 2011
Dernière: 17 September 2011
Mise en scène : Katherine Hare •
Chorégraphie : Racky Plews •
Producteur :
Star(s) :
Avec: Beverley Klein (Bernarda Alba), Amelia Adams-Pearce (Adela), Suanne Braun (Servant/Prudencia), Maria Coyne (Young Maid), Soophia Foroughi (Magdalena), Emily-Jane Morris (Amelia), Ellen O'Grady (Poncia), Fiona Sinnott (Angustias), Buster Skeggs (Maria Josepha) Rebecca Trehearn (Martirio).
Commentaires : This is a one-act “chamber-musical” based on the 1936 play “The House of Bernarda Alba” by Federico Garcia Lorca. It premiered off-Broadway in March 2006, winning several awards, and leading to an original cast recording. Its operatic style was a fusion of “flamenco, hand-clapping and finger-clicking punctuated with yelps, wavering sustained notes in minor keys, labyrinthine interior musical paths, and eruptions into anti-melodic harshness” . Critical reaction fell neatly into two distinct camps: those who rose to the challenge of LaChiusa’s experimentation, and those who hated his “arty gloominess”.