Featuring a rich catalogue of 1950's rock 'n' roll classics, the show tells the story of Vince Everett, a young man from the wrong side of the tracks who discovers his own unique musical talent whilst doing time in jail and emerges to become the world's greatest rock n' roll star, only to discover that he isn't ready for the pressures that money and fame can bring.
Poor white boy, Vince Everett, in a quarrel over a girlfriend, accidentally kills a man and is sentenced to ten years. In prison he’s taught to play guitar by a fellow prisoner called Hawk, and then gets spotted by Peggy van Aulden , a talent scour. On his release Vince becomes an overnight star and promptly turns his back on everyone who helped him, Hawk, Peggy, a black convict called Quickly, who helped him survive in prison, and even the ghost of his poor old Mama, who pops up now and again to tell about his childhood. Vince then suffers the pressure that money and fame can bring, and clashes with shifty record producers, Hollywood starlets and crafty lawyers until finally seeing the light.
1 Jailhouse Rock peut-être considéré comme un juke-box musical autour de la musique de
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Version 1
Jailhouse Rock (2004-04-Piccadilly Theatre-London)
Type de série: OriginalThéâtre: Piccadilly Theatre (Londres - Angleterre) Durée : 1 an Nombre : 420 représentationsPremière Preview : 26 March 2004
Première: 19 April 2004
Dernière: 23 April 2005Mise en scène : Rob Bettinson • Chorégraphie : Drew Anthony • Producteur : Star(s) : Avec: Mario Kombou (Vince Everett), Roger Alborough (Hawk), Lisa Peace (Peggy van Aulden), Gilz Terera (Quickly), Annie Wensak (Mama Everett), Dominic Colchester, Melanie Marcus, Mark Roper, Gareth Williams,Commentaires : Based on the classic 1957 Elvis Presley film, this was adapted for the stage by the same team that created the successful “Buddy”. However, Lieber & Stoller refused permission for any of their film songs to be used (on the grounds they were planning their own stage version), and the Presley estate refused permission for any reference to Elvis himself. Accordingly the musical content became a collection of some 20 or so of the lesser know Elvis numbers and several generic 50s hits with no actual reference to Elvis Presley himself. The show was praised for its energy, and ran for a year.Presse : NICK CURTIS for THE EVENING STANDARD says, “This is a mess that even diehard Presley fans will strain to love."
RHODA KOENIG for THE INDEPENDENT says, "Elvis by numbers lacks scorching heat of real King."
LYN GARDNER for THE GUARDIAN says, "An evening confused by the tension between its own nastiness and its bouncy Mills and Boon coating."
IAN JOHNS for THE TIMES says, "Before the first song is over, you feel that Elvis has already left the building."
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