Théâtre ()


Musique:
Paroles:
Livret: William Shakespeare
Production à la création:



Aucun dossier informatif complémentaire concernant Henry IV

Aucun dossier informatif complémentaire concernant Henry IV


Version 1

Henry IV (2014-10-Donmar Warehouse-London)

Type de série: Revival
Théâtre: Donmar Warehouse (Londres - Angleterre)
Durée : 1 mois 3 semaines
Nombre :
Première Preview : 03 October 2014
Première: 09 October 2014
Dernière: 29 November 2014
Mise en scène : Phyllida Lloyd
Chorégraphie :
Producteur :
Star(s) :
Avec: Harriet Walter (King Henry), Jade Anouka (Hotspur), Clare Dunne (Hal), Ashley McGuire (Falstaff), Elizabeth Chan (Northumberland and Peto), Jackie Clune (Westmorland and Glendower), Shiloh Coke (Mortimer), Karen Dunbar (Vernon and Bardolph), Cynthia Erivo (Poins and the Earl of Douglas), Zainab Hasan (Hostess), Jennifer Joseph (Sir Walter Blunt), Ann Ogbomo (Worcester), Katie Robinson (Hotspur s Messenger) and Sharon Rooney (Lady Percy and Gadshill)
Commentaires : In 2012, Phyllida Lloyd's all-female production of JULIUS CAESAR at the Donmar placed the play in a women's prison. It stunned audiences on both sides of the Atlantic and challenged the idea of 'who owns Shakespeare?' In the schools workshops around the production, teachers heard one girl speak in public for the first time. It couldn't end there. HENRY IV marks the return of Phyllida Lloyd, the reunion of the director with Harriet Walter and the second instalment in what will be a trilogy of works at the Donmar from these major artists.
Presse : "The evening, though, belongs to Ashley McGuire’s corpulent, cockney and comically delightful Falstaff. The piteous sight of this hugely appealing bovver-girl getting hauled off at the end by staff like an animal being returned to her cage is frankly unforgettable." Dominic Cavendish for The Telegraph

"As a production, it is vigorously entertaining and a welcome release from the tonal monotony of male-dominated Shakespeare. But the question of why a group of women prisoners should be doing this particular play is never answered." Michael Billington for The Guardian

"Purists will find much to revile: textual cuts, pulsating music, variety of accents. But this is an intimate, strikingly physical staging." Henry Hitchings for The Evening Standard

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