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Cambridge Theatre
Londres
Angleterre

Construction: 1930
Topologie du théâtre
Nombre de salles actives: 1
Salle 1: (1231)    1930 - Actif
Accès
En métro: Covent Garden/Leicester Square
En bus: 14, 19, 24, 29, 38, 176
Adresse: 32-34 Earlham Street, London, WC2 9HU
Evolution
Bâtiment: The Cambridge Theatre was built in 1929-30. It was designed by Wimperis, Simpson and Guthrie; interior partly by Serge Chermayeff, with interior bronze friezes by sculptor Anthony Gibbons Grinling. The theatre is built in steel and concrete and is notable for its elegant and clean lines of design. The theatre was refurbished in 1950—the original gold and silver décor was painted over in red, and candelabras and chandeliers were added. In 1987, in order to restore the original décor, the theatre was once again refurbished, this time by Carl Toms.
Nom:
Propriétaire(s):
Really Usefull Group

Remarquable:
Interior designed in moderne expressionist style - Three panels of exercising and dancing nude figures in foyer - Elliptical interior shell-concrete ceiling - Brass-faced zig-zag etched interior doors - Interior decoration of triangular patterning
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(1231)    1930 - Actif

Opened in 1930, the Cambridge Theatre occupies the angle between Earlham Street and Mercer Street (formerly Great Earl Street and Little White Lion Street), one of the junctions that make up Seven Dials. Dominated by a central Doric column carrying six sundials, the pillar acting as the seventh, this is now a neat, clean, paved circus on the western edge of a revitalized Covent Garden. The present facsimile column, with its surrounding mixture of 18th- and 19th-century domestic and warehouse buildings, was unveiled by Queen Beatrix of the Netherlands on 29 June 1989, putting a stamp of approval on an area formerly notorious as a focus of the London underworld.
The land around Seven Dials was first developed in the 1690s, and so notorious did it become as a haunt of gangs and criminals that their gathering point, the original column, was removed in 1773. Over the ensuing 200 years little improved, and in the 19th century Monmouth Street, running north-south through the circus, was famous only for its unsavoury second- and third-hand clothes market. The area began to emerge from the murk when Charing Cross Road and Shaftesbury Avenue were created In the 1880s, and by the 1920s It wai part of the working area of Covent Garden, centred on the market: not upmarket, but not slummy either.
The late 1920s and 1930s saw something of an explosion in theatre building in the West End, with, among others, the Adelphi, the Phoenix, the Fortune, the Piccadilly and the Carlton Haymarket opening their doors to the public for the first time. It is difficult to know exactly why the entrepreneur and speculator Bertie Meyer chose such an inconvenient triangular site on which to build a theatre; as so often, the question of price springs to mind as a possible reason. The five-storey Portland-stone exterior of the Cambridge, with its chamfered entrance angle on to the circus, and long flank elevations relieved by mostly small windows, cannot be said to be exciting, but the interior has been touched by the hand of a master.
The building having been designed for Meyer by the successful practice of Wimperis, Simpson and Guthrie - a firm geared more to housing and office, rather than theatre, design - it was perhaps considered prudent to import a specialist to work on the interior. That specialist was a man of genius: Serge Ivan Chermayeff, a Russian who had come to England at the age of 10 and worked as director of the modern furnishings department at Waring & Gillow department store before establishing his own architectural practice in 1930. Later he was to design, with Erich Mendelsohn, what is probably the premier building of the modern movement in Britain: the De La Warr Pavilion at Bexhlll-on-Sea, Sussex. In 1940 he emigrated to America. It Is not known precisely how Meyer made the happy choice of his Interior designer - the Cambridge was virtually Chermayeff’s first commission In private practice - but the budding designer had doubtless made as many contacts as possible from his position at Waring & Gillow, and may already have been acquainted with Wlmperis.
The foyer is graced by three panels of posed dancing and exercising nude figures, and the walls, once partly of marble, are now painted deep apricot, under a multilayered ceiling accommo¬dating concealed lighting. A barrel-vaulted corridor sweeps round the back of the fan-shaped auditorium - which was originally painted pink, silver and blue and is now decorated in white and gold. Chermayeff brought Into this theatre a clean-cut style, perhaps more familiar in Germany, which looked forward to the cinema architecture of the later 1930s. The elliptical shell-concrete ceiling Is arranged in wide bands to provide a sophisticated scheme of concealed lighting, and the auditorium decoration is confined, for the most part, to moderne triangular patterning. Above the boxes are panels, one showing modern, gaunt buildings against a stylized sun, the other, the last rays of the setting sun with waves.
The theatre opened with Chariot's Masquerade, starring Beatrice Lillie, and established a pattern of musicals alternating with ballet and opera. Half a Sixpence with Tommy Steele was a huge success In the early 1960s, as was Behind The Fridge with Peter Cook and Dudley Moore in 1972.

The Cambridge Theatre was built in 1929-30. It was designed by Wimperis, Simpson and Guthrie; interior partly by Serge Chermayeff, with interior bronze friezes by sculptor Anthony Gibbons Grinling. The theatre is built in steel and concrete and is notable for its elegant and clean lines of design. The theatre was refurbished in 1950—the original gold and silver décor was painted over in red, and candelabras and chandeliers were added. In 1987, in order to restore the original décor, the theatre was once again refurbished, this time by Carl Toms.

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Infos complémentaires:

The Stalls are moderately deep and are divided by a centre aisle that runs the full length of the auditorium. The section gets progressively wider, with 34 seats per row at the back section. The Circle overhang occurs far back in the section and does not restrict the view for the audience, even towards the rear. The section is well raked, allowing good sight lines from all levels.

The stalls are slightly curved at the end, meaning the ends of the rows have slightly restricted views although this is not reflected in the price structure. Sitting on the end of end of each row is not necessarily a bad deal, as due to the current staging and set design, the seats end up coming within the proscenium. They are not necessarily to be avoided but pick more central seats first. Leg room in this section is better than average, and the seats are comfortable. Booster seats are available for the current production and are available free of charge. Please ask an usher on arrival who will be happy to help.

The Dress Circle is divided into three equal sections, making a central section and a house right and house left. The section is raked so visibility is good throughout the whole section, and it doesn't feel too high. Unlike other theatres the Dress Circle at the Cambridge is built in a block and does not curve, meaning even seats on the ends of rows are not restricted and give an excellent overall view of the action.

There is a small metal safety rail running along the front of row A, but this is discrete and does not cause too many problems. Those with children however may prefer to sit a few rows back from the front so it remains entirely out of view. As most of this section is priced the same, it is worth asking for more central seats first.

The Upper Circle is significantly larger than the Dress Circle as it is divided into an upper and a lower section by a dividing wall. The front section provides the best views of the stage, only by being closer to the action, and is divided into three sections like the Dress Circle. The back section of the Upper Circle features some more restricted seats, due to the unusual shape around the gangways and stairwells. It would be advised to avoid these seats initially, although they are the cheapest in the auditorium so would suit those on a budget. Safety rails run along the front of the section, as well as around the stairwells which may cause problems to shorter audience members.

Due to the grandeur of the building the Upper Circle can feel quite disconnected to the stage, as the Proscenium is framed by lighting rigs as well as the curved roof. Sight lines are rarely obstructed, but for those wishing to feel a little more connected to the performance may wish to sit in the front section or in the lower levels. Leg room is good on this level, and the overall comfort of the theatre rates highly throughout the West End.

Interior designed in moderne expressionist style - Three panels of exercising and dancing nude figures in foyer - Elliptical interior shell-concrete ceiling - Brass-faced zig-zag etched interior doors - Interior decoration of triangular patterning

Matilda The Musical
[25 oct. 11 - Open end]

Musical
Original London

1) Matilda The Musical (Original London)

Joué durant  9 ans 4 semaines actuellement

Première preview: mar. 25 octobre 2011
Première: jeu. 24 novembre 2011
Dernière: Open end

Metteur en scène: Matthew Warchus •  
Chorégraphe: Peter Darling •  
Avec: Cleo Demetriou/Kerry Ingram/Sophia Kiely (Matilda), Josie Walker (Mrs Wormwood), Paul Kaye (Mr Wormwood), Gary Watson (Rudolpho), Bertie Carvel (Miss Trunchbull), Lauren Ward (Miss Honey), Peter Howe, Melanie La Barrie, Matthew Malthouse, Emily Shaw, Verity Bentham, Alistair Parker. 

Commentaire: Based on the novel by Roald Dahl, the musical opened at the Courtyard Theatre in Stratford-upon-Avon on December 9th 2010 (previews from November 9th) and ran until the end of January. The production was re-staged in the West End on November 24th (previews from October 25th) with all the principal cast returning from the Stratford cast, plus three separate teams of nine children, “Matilda” opened to widespread critical acclaim, fast becoming one of the most successful British musicals in modem history. The show won seven Olivier Awards including Best New Musical, at the 2012 ceremony - the most awards ever won by a single show. Cast replacements in April 2012 included Steve Furst (Mr Wormwood) and Hayley Flaherty (Miss Honey) and later replacements planned for the summer were announced as David Leonard (Miss Trunchbull) and Annette McLaughlin (Mrs Wormwood). It was also announced that a Broadway production is scheduled to open in March 2013.  (plus) 

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Musical
Revival

26) Chicago (Revival)   

Joué durant  5 ans 4 mois

Première preview: ven. 28 avril 2006
Première: ven. 28 avril 2006
Dernière: sam. 27 août 2011

Metteur en scène: Walter Bobbie •  
Chorégraphe: Ann Reinking •  
Avec:  

Commentaire: Prolonge la série à l'Adelphi Theatre du 18 Nov 1997 au 22 April 2006 avant un nouveau transfert au Garrick.  (plus) 

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Musical
Original

25) Dancing in the streets (Original)

Joué durant  9 mois 1 semaine

Première preview: ven. 08 juillet 2005
Première: mar. 19 juillet 2005
Dernière: sam. 22 avril 2006

Metteur en scène: Keith Strachan •  
Chorégraphe: Carole Todd •  
Avec:  

Commentaire: Opened Cambridge Theatre 8 July 2005, transferred to Aldwych 27 April 2006, transferred to Playhouse 1 Aug 2006  (plus) 

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Spectacle
UK Tour

24) Something Wicked This Way Comes (UK Tour)

Joué durant  2 semaines

Première preview: mar. 31 mai 2005
Première: mar. 31 mai 2005
Dernière: sam. 18 juin 2005

Metteur en scène:  
Chorégraphe:  
Avec: Derren Brown 

Commentaire:   

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Musical
West End Transfer

23) Jerry Springer: The Opera (West End Transfer)

Joué durant  1 an 3 mois 1 semaine

Première preview: mar. 14 octobre 2003
Première: lun. 10 novembre 2003
Dernière: sam. 19 février 2005

Metteur en scène: Stewart Lee •  
Chorégraphe: Jenny Arnold •  
Avec: David Soul (Jerry Springer), Guy Porritt (Steve), David Bedella (Warm-Up Man / Satan), Benjamin Lake (Dwight / God), Carrie Ellis (Peaches / Baby Jane), Claire Platt (Zandra / Irene / Mary), Ryan Molloy (Tremont / Angel Gabriel), Leon Craig (Montel / Jesus), Annabelle Williams (Andrea / Archangel Michael), Alison Jiear (Shawntel / Eve), Christopher Key (Chucky / Adam), Edward Baruwa (Dwayne Wayne), Dale Branston (Carlo Collins), Leroy Charlery (Bouncer, Ziggy Washington), Jason Griffiths (Michael Melikidse), Kiara Jay (Courtney Taylor), Trevor Jary (Drea Curtis), Nicole Joy-Fraser (Ariana Kostopoulos), Ruby King (Mercedes Serenity Jones), Kirsty Malpass (Tamera James), Elen Mon Wayne (Samantha Brown), Aoife Nally (Val Rosenthal), David O'Dell (Gilbert Nixon White), Johan Pearson (Bouncer, Tony Johnson), Andrew Playfoot (Marlon Jackson III), Verity Quade (Laurie Rae Johnson), Jeremy Secomb (Waylon Wasowski), Phillip Sutton (Elder F. Lower), Stephanie Tavernier (Teresa Jackson), Phong Truong (Elvis Chang), Elin Wyn Lewis (Tania Lee), Adriano Agostino (Earnest Diggle), Richard Alliston (Brett Monroe), John Coates (Dustin Summers), Jenny Dale (Betsy-Lou Danvers), Tania Mathurin (Letitia Moesha Jackson), Scott Monello (Bobby Jetson), Nicola Rutherford (Lorie Tyler), Gayle Telfer Stevens (Stella Eleanor Jefferson), Karen O Novak (Jerrycam Sequence Dancer) 

Commentaire: This was Nicholas Hytner’s first show as the new artistic director of the Royal National Theatre, and it seemed to herald a new era, very different from Trevor Nunn’s series of American musicals’ “golden oldies”.
It had been rewritten and enlarged from earlier “fringe” versions at the Edinburgh Festival and the BAC, and proved to be hugely controversial. The clash of high operatic music and big choral parodies with scatological lyrics about whores, crack, and junkies made some critics compare it to a modern day “Beggar’s Opera”. A nearly naked Jesus admitting to being “a bit gay”, a plump glam-rock God descending on a golden swing singing “It Ain’t Easy Being Me”, and Jesus and Satan performing a baroque duet caused some critics to scream blasphemy. Adam and Eve and the Holy Virgin appearing as guest artists on the Jerry Springer TV chat-show made some critics respond enthusiastically to the satire on the cheap values of modern society. The show won four Olivier Awards including Best Musical.  (plus) 

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Musical
Original

22) Our House (Original)

Joué durant  9 mois 3 semaines

Nb de représentations: 331 représentations
Première preview: lun. 07 octobre 2002
Première: lun. 28 octobre 2002
Dernière: sam. 16 août 2003

Metteur en scène: Matthew Warchus •  
Chorégraphe: Peter Darling •  
Avec: Michael Jibson (Joe Casey), Julia Gay (Sarah), Lesley Nicol (Joe ’s Mum), Ian Reddington (Joe’s Dad), Richard Frame, Oliver Jackson, Tameka Empson, Andrea Francis, Matt Cross, Mike Scott, James Beattie, Mark Hilton, Paul Kemble 

Commentaire: On the surface this was another compilation “greatest hits” show of the “We Will Rock You” kind. However, the numbers were wrapped around a skilful narrative with inventive and cheerful choreography and a much praised central performance from Michael Jibson as Joe. Although the show received mostly enthusiastic notices, business was very patchy: a series of matinees were cancelled, then matinee days were re-arranged until unexpectedly the show won the 2003 Olivier Award for Best Musical of the Year. This gave it a boost, and it continued to run until mid-August, 2003 - a ten month run.  (plus) 

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Musical
Revival

21) Fame (Revival)

Joué durant  11 mois 2 semaines

Première preview: jeu. 20 septembre 2001
Première: jeu. 20 septembre 2001
Dernière: sam. 31 août 2002

Metteur en scène: Karen Bruce • Runar Borge •  
Chorégraphe: Lars Bethke •  
Avec:  

Commentaire: Transféré du Victoria Palace Theatre et sera transféré à l'Aldwych Theatre  (plus) 

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Musical
Original

20) Beautiful Game (The) (Original)

Joué durant  11 mois 1 semaine

Nb de représentations: 391 représentations
Première preview: mar. 05 septembre 2000
Première: mar. 26 septembre 2000
Dernière: sam. 01 septembre 2001

Metteur en scène: Robert Carsen •  
Chorégraphe: Meryl Tankard •  
Avec: Frank Grimes (Father O ’Donnell), Ben Goddard (Del), Hannah Waddingham (Christine), Michael Shaeffer (Thomas), David Shannon (John), Josie Walker (Mary), Dale Meeks (Greg), Jamie Golding, Alex Sharpe, Diane Pilkington, Nic Greenshields, David Lyons 

Commentaire: This show truly divided the critics. Some claimed it was a powerful, dark, intelligent musical, containing some of Lloyd Webber’s most sophisticated and deeply-felt music; others claimed it was a one-sided, patronising Romeo and Juliet rip-off, mis-matching over-romanticised music with an over-done tale of murder, knee-capping and internment camps. The show ran for just under a year, closing on September 1st, 2001. A re-written version was performed in Canada in 2009 with a new title “The Boys in the Photograph” and a happier ending. The song "Our Kind of Love" was replaced with a new song "The Boys in the Photograph" and several other songs were cut. (However, “Our Kind of Love” would be re-worked and appear in Andrew Lloyd Webber’s later musical “Love Never Dies”.)  (plus) 

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Musical
Original

19) Great Balls of Fire (Original)

Joué durant  2 mois 1 semaine

Nb de représentations: 85 représentations
Première preview: ven. 01 octobre 1999
Première: mer. 06 octobre 1999
Dernière: sam. 18 décembre 1999

Metteur en scène: Simon Usher •  
Chorégraphe: Tim Flavin •  
Avec: Billy Geraghty (Jerry Lee Lewis), Neil Henry (Young Jerry), Heather-Jay Jones (Myra), John Bannister, Kim Bretton, Amelda Brown, Eddie Burton, Stuart Callaghan, Simon Fogg, Liam Grundy 

Commentaire: The life-story of Jerry Lee Lewis could have been an amazing evening in the theatre - two bigamous marriages, wife number three being 13 years old, two sons dying in accidents, being arrested outside Graceland brandishing a gun and demanding to see Elvis, shooting his bass player while blasting holes in his office door - but, no! This was a highly sanitised version of his life: Jerry – criticised for jazzing up hymns at Bible college, then the cliché moment when the hostile record producer suddenly realises the hick lad has got talent, skipping very lightly over the marriages, and then the obligatory rock concert with all the well-known Jerry Lee Lewis hits.
However, this show was saved by an amazing performance from Billy Geraghty as the older Jerry, and audiences loved it (though the critics were not so keen). It ran for nine weeks.  (plus) 

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Musical
Revival

18) Grease (Revival)   

Joué durant  2 ans 10 mois 3 semaines

Première preview: Inconnu
Première: jeu. 24 octobre 1996
Dernière: sam. 11 septembre 1999

Metteur en scène: David Gilmore •  
Chorégraphe: Arlene Phillips •  
Avec:  

Commentaire: This large-scale, expanded version of the show included the additional songs written for the film. It was an enormous success and received an excellent critical reception, and ran a phenomenal 6 years.
Some of the cast changes during this time included Ian Kelsey, Luke Goss, Sonia, Samantha Janus, Marissa Dunlop, Linzi Hateley.  (plus) 

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Musical
Original London

17) Fame (Original London)

Joué durant  1 an 3 mois

Nb de représentations: 526 représentations
Première preview: ven. 16 juin 1995
Première: mar. 27 juin 1995
Dernière: sam. 28 septembre 1996

Metteur en scène: Runar Borge •  
Chorégraphe: Lars Bethke •  
Avec: Scott Sherrin (Tyrone), Sonia Swaby (Mabel), Gemma Wardle (Serena), Richard Dempsey (Nick), Loraine Velez (Carmen), Josefina Gabrielle (Iris), Jonathan Aris, Nicola Bolton, Alastair Willis, Miguel Brown, Vivien Parry, Harry Landis, Bill Champion 

Commentaire: Following its original film and spin-off TV series, the critics thought the show was too predictable and cliched - dancer with an eating disorder, student with drug problem, girl in love with boy who might be gay, teacher passionate about Mozart dealing with a class that wants to rap - and was just an excuse for dance numbers and songs not as good as the original soundtrack. It ran for more than a year in London run and then underwent a successful UK tour which was to make a few return visits to the West End over the next years.  (plus) 

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Musical
Original London

16) Mama, I Want to Sing! (Original London)

Joué durant  4 mois 1 semaine

Nb de représentations: 149 représentations
Première preview: mar. 31 janvier 1995
Première: mer. 01 février 1995
Dernière: sam. 10 juin 1995

Metteur en scène: Vy Higginsen • Ken Wydro •  
Chorégraphe: Richard Sampson •  
Avec: Doris Troy (Mama Winter), Howard McCrary (Reverend Winter). Stacy Francis (Young Doris), Joanne Campbell (Narrator), Chaka Khan (Sister Carrie), Charles Stewart (Minister of Music) 

Commentaire: This show held the record as the longest running all-black off-Broadway show, running for eight years, playing to over 3 million people and taking something like £38 million at the box office in stagings through Europe, Asia and Japan. The part of Doris Troy’s mother was played by Doris Troy herself, and the company included a 15 voice gospel choir. Generally the critics hated it! “Over-amplified, over-long, under-written, uninspired” (Sunday Express), “you end up aching for Motown and wishing the show had been about Diana Ross. Or even Jonathan Ross” (Michael Coveney in “The Observer”.)

Transfered to Gielgud Theatre  (plus) 

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Musical
Original

15) Peter Pan - The British Musical (Original)   

Joué durant  1 mois

Première preview: mar. 20 décembre 1994
Première: mar. 20 décembre 1994
Dernière: sam. 21 janvier 1995

Metteur en scène: Peer Chater Robinson •  
Chorégraphe: George May •  
Avec: Ron Moody (Capt. Hook/Mr Darling), Nicola Stapleton (Peter Pan), Debbie Wall (Wendy), Rosemary Williams (Mrs Darling), Pinky Amador (Tiger Lily), Harry Dickman (Smee), David Anthony (Nana) 

Commentaire: Apart from the welcome reappearance of Ron Moody in the West End after a long absence, there was hardly anything to recommend this new musical version of J. M. Barrie’s famous story. The Times said: “This dreadful musical hovers, or rather wobbles, between the insufferably twee and the lethally stupid”. The Sunday Telegraph "... There are naff tunes, naffer lyrics, and dowdy sets…"  (plus) 

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Musical
Original

14) Hot Stuff (Original)

Joué durant  

Nb de représentations: 222 représentations
Première preview: Inconnu
Première: mar. 17 août 1993
Dernière: Inconnu

Metteur en scène: Paul Kerryson •  
Chorégraphe:  
Avec: Peter Straker (Boss), Guy Oliver-Watts (Joe Soap), Paulette Ivory (Julie), Caroline O’Connor (Mavis de Follies), David Dale (Helen) 

Commentaire: According to Sheridan Morley in the Spectator the show consisted of ...a lot of derelict old pop hits sung very loudly by a cast all of whom seem to have had talent and charisma bypasses early in rehearsal... in a production on which every conceivable expense has been spared.
However, other critics felt it had a party atmosphere for those who fancied a disco-type night out. It ran for six months.  (plus) 

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Musical
Original

13) Return to the Forbidden Planet (Original)   

Joué durant  3 ans 4 mois

Nb de représentations: 1516 représentations
Première preview: Inconnu
Première: lun. 18 septembre 1989
Dernière: sam. 16 janvier 1993

Metteur en scène: Bob Carlton •  
Chorégraphe: Carole Todd •  
Avec: John Ashby (Captain Tempest), Christian Roberts (Doctor Prospero), Alison Harding (Miranda), Kraig Thornber (Ariel) , Matthew Devitt, Nicky Furre, Anthony Hunt, Kate Edgar 

Commentaire: Based on the B-Movie “Forbidden Planet”, which itself wass derived from Shakespeare’s “Tempest” this show contained some of the best songs from the past 30 years to please the rockers, and enough Shakespeare jokes to please the regular theatregoer, and all-in-all, got a great critical and audience reaction. It was, however, harder to pull in the crowds. Somewhat astonishingly this show won the Olivier Award for Best Musical of the Year, beating “Miss Saigon”, thus causing considerable controversy.  (plus) 

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Musical
West End Transfer

12) Sherlock Holmes: The Musical (West End Transfer)

Joué durant  2 mois 2 semaines

Nb de représentations: 97 représentations
Première preview: Inconnu
Première: lun. 24 avril 1989
Dernière: sam. 08 juillet 1989

Metteur en scène: George Roman •  
Chorégraphe: Christine Cartwright •  
Avec: Ron Moody (Sherlock Holmes), Derek Waring {Dr. Watson), Liz Robertson (Bella Moriarty), Julia Nelson (Mrs Hudson), Roger Llewellyn {Inspector Lestrade), Eileen Battye (Mrs Moriarty) John Gower 

Commentaire: Originally produced at the Northcott Theatre, Exeter, this was not a success  (plus) 

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Musical
Original

11) Budgie (Original)

Joué durant  3 mois

Nb de représentations: 110 représentations
Première preview: Inconnu
Première: mar. 18 octobre 1988
Dernière: sam. 21 janvier 1989

Metteur en scène: Jonathan Lynn •  
Chorégraphe: Anthony Van Laast •  
Avec: Adam Faith (Budgie Bird), Anita Dobson (Hazel), John Turner (Charlie Endell), Caroline O’Connell (Lulu), Catherine Terry (Helga), Gareth Marks, Julian Littman, Alexandra Worrall 

Commentaire: The attempts to turn these unsavoury characters into warm-hearted, loveable Soho folk, even included the winos sleeping in the gutters suddenly joining in a jolly knees-up type chorus. This was Adam Faith’s musical theatre debut, and a number of people asked “What’s a nice guy like you doing in a show like this?”  (plus) 

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Musical
Revival

10) Yeomen of the Guard (Revival)

Joué durant  1 mois 3 semaines

Première preview: Inconnu
Première: lun. 18 juillet 1988
Dernière: sam. 10 septembre 1988

Metteur en scène: Christopher Renshaw • Peter Walker •  
Chorégraphe:  
Avec:  

Commentaire: The D’Oyly Carte Opera Company had lost its Arts Council funding and disbanded a few years earlier - an event described by many at the time as a great national loss. Following sponsorship from British Midland Airlines and a bequest from the late Bridget D’Oyly Carte, the New D’Oyly Carte Opera Company has been formed. With a 60-strong company and a 33 piece orchestra conducted by Bramwell Tovey, the new company has been managed by Richard Condon and thanks to the generosity of the Stoll Moss organisation has been able to re-launch itself with a season at the Cambridge Theatre. (The extended run of “Kiss Me Kate” at the Savoy meant they could not play their
original home)  (plus) 

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Musical
Revival

9) Iolanthe (Revival)

Joué durant  1 mois 3 semaines

Première preview: Inconnu
Première: mar. 12 juillet 1988
Dernière: mer. 07 septembre 1988

Metteur en scène: Christopher Renshaw • Peter Walker •  
Chorégraphe:  
Avec:  

Commentaire: The D’Oyly Carte Opera Company had lost its Arts Council funding and disbanded a few years earlier - an event described by many at the time as a great national loss. Following sponsorship from British Midland Airlines and a bequest from the late Bridget D’Oyly Carte, the New D’Oyly Carte Opera Company has been formed. With a 60-strong company and a 33 piece orchestra conducted by Bramwell Tovey, the new company has been managed by Richard Condon and thanks to the generosity of the Stoll Moss organisation has been able to re-launch itself with a season at the Cambridge Theatre. (The extended run of “Kiss Me Kate” at the Savoy meant they could not play their
original home)  (plus) 

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Musical
Original London

8) Rink (The) (Original London)

Joué durant  1 mois

Nb de représentations: 38 représentations
Première preview: Inconnu
Première: mer. 17 février 1988
Dernière: sam. 19 mars 1988

Metteur en scène: Paul Kerryson •  
Chorégraphe: Paul Kerryson •  
Avec: Diane Langton {Angel), Josephine Blake (Anna), Lyanne Compton/Sheree Murphy (Little Girl), Michael Gyngell (Lenny), Gareth Snook (Dino), Richard Bodkin, James Gavin, Steve Hervieu, Peter Edbrook 

Commentaire: This production originated at the Forum, Wythenshawe. Each member of the all-male gang of wreckers played several parts (including female roles) whilst on roller-skates. The original 1984 Broadway production starred Liza Minnelli and Chita Rivera and ran for 204 performances  (plus) 

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Musical
Revival

7) Peter Pan - The musical (Revival)

Joué durant  2 mois

Première preview: Inconnu
Première: jeu. 12 novembre 1987
Dernière: sam. 16 janvier 1988

Metteur en scène: John Newman •  
Chorégraphe: Anthony Van Laast •  
Avec: Lulu {Peter Pan), George Cole (Captain Hook), Michelle Thorneycroft (Wendy), Jan Harvey (Mrs Darling) 

Commentaire:   

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Musical
Original

6) Dear anyone (Original)

Joué durant  2 mois

Nb de représentations: 65 représentations
Première preview: Inconnu
Première: mar. 08 novembre 1983
Dernière: sam. 07 janvier 1984

Metteur en scène: David Taylor •  
Chorégraphe: Tudor Davies •  
Avec: Jane Laportaire (Mercedes), Peter Blake (Danny), Stubby Kaye (Harry), Stephanie Voss (Mildred), Ian Burford, Tracie Hart, Richard Kates, Buster Skeggs 

Commentaire:   

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Musical
Original

5) Mikado (The) (Original)

Joué durant  3 mois 1 semaine

Première preview: Inconnu
Première: mar. 28 septembre 1982
Dernière: sam. 08 janvier 1983

Metteur en scène: Chris Hayes •  
Chorégraphe: Michele Hardy •  
Avec: Murray Melvin (Ko-Ko), Nicholas Smith (Mikado), Gary Lyons (Nanki Poo), John Hewer (Pooh-Bah), Stella Goodier (Yum Yum), Eileen Gourlay (Katisha) 

Commentaire: This was a Theatre Royal Plymouth Production.  (plus) 

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Musical
Original London

4) One Mo' Time (Original London)

Joué durant  4 mois 1 semaine

Première preview: Inconnu
Première: mar. 14 juillet 1981
Dernière: sam. 21 novembre 1981

Metteur en scène: Vernel Bagneris •  
Chorégraphe:  
Avec: Sylvia Kuumba Williams (Bertha), Thais Clark (Ma Reed), Topsy Chapman (Thelma),Verne 1; Bagneris (Papa Du), John Stell (Theatre Owner), The New Orleans Blues Serenaders 

Commentaire: Cambridge Theatre 14/7/1981 - 21/11/1981
Phoenix Theatre 24/11/1981 - 17/7/1982  (plus) 

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Musical
Original London

3) Chicago (Original London)

Joué durant  

Nb de représentations: 600 représentations
Première preview: Inconnu
Première: mar. 10 avril 1979
Dernière: Inconnu

Metteur en scène: Peter James •  
Chorégraphe: Gillian Gregory •  
Avec: Antonia Ellis (Roxie Hart), Jenny Logan (Velma Kelly), Don Fellows (Amos Hart), Hope Jackman (Momma Morton), Ben Cross (Billy Flynn), G.Lyons (Mary Sunsine) 

Commentaire: Based on the 1926 play by Maurine Dallas Watkins’ and its subsequent film starring Ginger Rogers, the 1975 Broadway musical starred Gwen Verdon and Chita Rivera. Shortly after the New York opening Gwen Verdon was taken ill and temporarily replaced with Liza Minelli. The London production originated at the Crucible Theatre, Sheffield in November 1978.  (plus) 

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Théâtre
Revival

2) Cyrano de Bergerac (Revival)

Joué durant  2 mois

Nb de représentations: 33 représentations
Première preview: Inconnu
Première: mar. 27 octobre 1970
Dernière: jeu. 31 décembre 1970

Metteur en scène: Patrick Garland •  
Chorégraphe:  
Avec:  

Commentaire: Nouvelle adaptation de Patrick Garland
Une productionj du National Theatre qui sera reprise à l'Old Vic (siège à l'époque du NT) du 10 février au 1er avril 1971 pour 10 représentations exceptionnelles.  (plus) 

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Musical
Original

1) Ace of Clubs (Original)

Joué durant  6 mois

Nb de représentations: 211 représentations
Première preview: ven. 07 juillet 1950
Première: ven. 07 juillet 1950
Dernière: sam. 06 janvier 1951

Metteur en scène: Noël Coward •  
Chorégraphe:  
Avec:  

Commentaire:   

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