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Criterion Theatre
Londres
Angleterre

Construction: 1874
Topologie du théâtre
Nombre de salles actives: 1
Salle 1: (592)    1874 - Actif
Accès
En métro: Piccadilly Circus
En bus: 3, 6, 12, 13, 14, 15, 19, 22, 23, 38, 88, 94, 139, 159, 453
Adresse: Piccadilly Circus, London, SW1Y 4XA
Evolution
Bâtiment:
Nom:
Propriétaire(s):


Remarquable:
The only basement theatre in London - Tilework and painting by Messrs Simpson and Son.
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(592)    1874 - Actif

L'équipe de "The Play That Goes Wrong" présente sa nouvelle création

 Londres (Angleterre)
 Criterion Theatre  
 ** Hors DB Theatre  
 Publié le 04 déc. 2015
The Comedy about a bank robbery se jouera au Criterion Theatre à partir du mois d'avril 2016: "Un énorme diamant, huit voleurs incompétents et un gardien … edormi! Qu'est-ce qui pourrait bien se passer?"
Cette comédie provient de la même équipe que celle qui a créé dans le West End The Play That Goes Wrong au Duchess Theatre, et Peter Pan That Goes Wrong à l'Apollo Theatre.

Prolongation jusqu'au 14 février 2016

 Londres (Angleterre)
 Criterion Theatre  
 Close to you - Bacharach reimagined  
 Publié le 11 nov. 2015
La production présentée au Criterion - quiest un West End Transfert de la version du Menier Chocolate Factory - est prolongée jusqu'au 14 février 2016.

The 39 steps est prolongé jusqu'au 18 octobre 2014

 Londres (Angleterre)
 Criterion Theatre  
 39 steps  
 Publié le 29 oct. 2013

Great coaching inns, such as the Bull and Mouth of St Martins-le- Grand in the City of London, and the Kings Head or the George Inn in Southwark, were an Important element of the 17th- and 18th- century London scene, catering for the movements of considerable numbers of passengers each day through the capital. The White Bear, a 17th-century coaching Inn, occupied a prime site on the south side of Piccadilly, with convenient access, via its large stableyard, to Jermyn Street at the rear. A popular inn, the White Bear survived beyond the coaching age to be demolished only in 1870. The purchasers of the site, wine merchants Spiers and Pond, held an architectural competition, won by Thomas Verity, architect of the nearby Comedy Theatre, for an entertainments complex incorporating a restaurant, pub and picture gallery with a concert and exhibition hall in the basement. The building was completed In 1873, an eastern extension was built in 1879, and a rear extension to Jermyn Street was added in 1885. The Interiors were richly decorated in ornamental tile- and paintwork by Messrs Simpson and Son; the Long Bar and banqueting room remain virtually intact to this day.
The proposal to provide a theatre in the basement, replacing the concert and exhibition hall, was made part way through the contract, and the theatre was opened after the rest of the complex on 21 March 1874 - only to be closed by the Metropolitan Board of Works in 1882 on fire-safety grounds. Extensive improvements were made to the building, and the theatre reopened two years later. Further alterations were made In 1905, when the ground-floor buffet became the Marble Restaurant, with new doors to Piccadilly Circus; in 1908, when a new full-length iron and glass canopy was added to the front; and In 1921 and 1924, when part of the frontage was rebuilt and new floors added - all at the time when the distinguished architect and co-founder of the Art Workers’ Guild Sir Reginald Blomfield was building to the west of the Criterion his grand entrance to Lower Regent Street in Portland stone and a Beaux-Arts classical manner. The east wing of the Criterion was demolished in the late 1980s and replaced by an office
block designed by Renton Howard Wood Levine, with, on its angle into Haymarket, an eye-catching fountain dominated by the rearing Horses of Helios, sculpted in 1992 by Rudy Weller,
Looking across Piccadilly Circus from the north side, it is easy to lose the Criterion in what at first glance appears to be a monolithic block; but look again at the beautiful, delicate, eclectic classical stone front and be lifted above the welter of noise and mechanical turmoil. Eros has regrettably been moved on to a pedestrian area in front of the theatre, where he is cordoned off to prevent vandalism. Owing not a little to the Paris Opera House, the three main storeys of the Criterion are crowned, above a deep entablature, by a dormered mansard and pavilion roof. Although the front has been masked to its detriment by numerous layers of off-white paint, cherubs abound to raise the spirits. The restaurant and theatre each have separate entrances under pretty semi-circular glazed canopies. The theatre foyer is compact, but its painted and tiled decorative panels, which alternate with large plate-glass mirrors,
give it a lively touch and provide an Illusion of space. The coved ceiling depicts rather crude, ill-tempered cherubs, a muscular lyre player and a musical maiden posed in a woodland garden, A single staircase drops down to the auditorium, which, although altered in 1884, retains its original horseshoe form of 1874, with two tiers of serpentine balconies supported on slender wreathed cast-iron columns. The balcony fronts are iron openwork, and the flat circular ceiling is ornamented with rococo relief panels. As the theatre is confined to the basement, no scenery can be flown - an openable prompt-side box provides for the movement of scenery - and no machinery was ever installed under the stage; this was no small limitation at a time when transformation scenes were extremely popular. Notwithstanding this inconvenience, the Criterion is a wonderful example of a Victorian multi-use complex, of which few survive; one other notable instance is Alexandra Palace at Muswell Hill (1875).
The theatre opened with a performance of An American Lady, a comedy written by the manager Henry J. Byron, but it was Sir Charles Wyndham’s partner and later wife, actress Mary Moore, who was most prominently associated with the building from 1886 to 1931. Having managed the theatre since
1875, Charles Wyndham was lessee at his death in 1919. Being safely underground, the Criterion was used by the BBC as a studio during the Second World War, and since that time many successes have been performed here, including Joe Orton’s Loot (1966), The High Bid with Eartha Kitt (1971) and A Doll's House with Claire Bloom (1973).

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Infos complémentaires:

The Stalls section is particularly tricky due to the shape of the section and the pillars that support the Dress Circle above. The whole section is set as one block of seats with no aisles. The rows are straight and do not curve around the shape of the stage. Because of this, the first and last two seats of each row around the middle section fall outside of the proscenium arch, and do not provide as good value for money. Unless discounted, these restricted view seats are not worth the side on view of the stage.

The whole section is un-raked, meaning that the view over the audience in front can be quite restrictive. Rows feel quite tight together, and leg room in general is not very good. The stage feels quite low, and because of the pitch of the seats, some detail on the floor of the stage is missed throughout the performance. For a better overall view of the stage, the Dress Circle is advisable. Pillars appear in rows J, M and N, at both sides of the row, forming a small semi-circle around the section. Views from L-S then become heavily restricted by these pillars, although this is taken into account in the pricing structure. Seats P 8-16 fall in between pillars and are unrestricted, but still feel quite far back, set underneath the overhang of the balcony above. Worse seats are the back house left of the section, from rows M-S, 18-24. These seats are separated by pillars and feel very far away from the action. Pillars are always in view and can be quite distracting. The overhang begins initially at row H, although curves back in a horseshoe shape to to row M. Not much of the action is missed, although you do feel quite closed off from the rest of the theatre.

The Dress Circle is situated 32 steps below street level but probably provides the better views of the stage. The section is quite long and narrow, with only 5 and a half rows of seats. The section curves around dramatically in a horseshoe shape, meaning the each row is angled onto the stage rather than facing straight on. Three pillars create obstructions once again, leading to restricted view seats across the section.

The whole circle is well raked, meaning you can see well over the heads in front. Best seats are row A and B as these are both closest to the stage and out of the way of any obstructions. The section feels quite low due to the size of the venue, and you feel particularly close to the actors. From row C the first and last 5 seats in each row should be avoided as they are restricted and do not directly face the stage. These seats are often discounted. The overhang of the Upper Circle begins around row C, curving back slightly in a shallower horseshoe shape.

The Upper Circle is set back slightly behind the Dress Circle, and is the closest section to street level. With only 3 rows, the section is divided by a wide central aisle. Prices for the whole of row A are the most expensive as these provide the best views of the stage. The centre of rows B and C are unrestricted, but seats towards the ends of the final two rows are labelled as restricted and suffer due to bad sight lines.

The only basement theatre in London - Tilework and painting by Messrs Simpson and Son.

Comedy about a bank robbery (The)
[31 mars 16 - Open end]

Théâtre
Original

1) Comedy about a bank robbery (The) (Original)

Joué durant  4 ans 6 mois 2 semaines actuellement

Première preview: jeu. 31 mars 2016
Première: jeu. 21 avril 2016
Dernière: Open end

Metteur en scène: Mark Bell •  
Chorégraphe:  
Avec:  

Commentaire: Cette comédie provient de la même équipe que celle qui a créé dans le West End The Play That Goes Wrong au Duchess Theatre, et Peter Pan That Goes Wrong à l'Apollo Theatre (plus) 

Plus d'infos sur cette production:


Musical
West End Transfer

29) Close to you - Bacharach reimagined (West End Transfer)

Joué durant  4 mois

Première preview: sam. 03 octobre 2015
Première: jeu. 15 octobre 2015
Dernière: dim. 14 février 2016

Metteur en scène: Steven Hoggett •  
Chorégraphe:  
Avec:  

Commentaire: Le spectacle est joué sous son nouveau titre… (Anciennement What's it all about? Bacharach reimagined)

Performed by a young cast, led by musician and performer Kyle Riabko, the show features Riabko's new yet faithful interpretations of Bacharach's classics. Blending nostalgia and innovation, generations old and new can now revel in all the hits as if for the very first time.  (plus) 

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Théâtre
Revival

28) 39 steps (Revival)

Joué durant  8 ans 11 mois 3 semaines

Première preview: jeu. 14 septembre 2006
Première: mer. 20 septembre 2006
Dernière: sam. 05 septembre 2015

Metteur en scène: Maria Aitken •  
Chorégraphe: Aucun •  
Avec:  

Commentaire:   

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Musical
Revival

27) Mack and Mabel (Revival)

Joué durant  2 mois 3 semaines

Nb de représentations: 96 représentations
Première preview: mer. 05 avril 2006
Première: lun. 10 avril 2006
Dernière: sam. 01 juillet 2006

Metteur en scène: John Doyle •  
Chorégraphe:  
Avec: David Soul (Mack Sennett), Janie Dee (Mabel Normand), Sarah Whittuck (Lottie ), Matthew Woodyatt (Fatty Arbuckle), Richard Brightiff, Tomm Coles, Robert Cousins, Michelle Long, Robin Pirongs, Jon Trenchard, Simon Tuck 

Commentaire: This was another of John Doyle’s experiments where the 11-strong cast accompany themselves, doubling as musicians. While this has been very successful in the case of “Sweeney Todd”, it didn’t work for numbers like “Tap Your Troubles Away”, which seemed lost without a stage full of tap-dancing chorines. There was praise for David Soul and Janie Dee, but generally the critical reaction was that the production looked too cut down and done on the cheap. It had originated at the Watermill Theatre for a three month run in March 2005 and was then revived for a national tour from January 2006. Its return to the West End survived just twelve weeks.  (plus) 

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Théâtre

26) Otherwise Engaged ()

Joué durant  2 mois 4 semaines

Première preview: mar. 25 octobre 2005
Première: lun. 31 octobre 2005
Dernière: sam. 28 janvier 2006

Metteur en scène: Simon Curtis •  
Chorégraphe:  
Avec: Richard E Grant (Simon Hench), Anthony Head (Jeff), David Bamber (Bernard Wood), Amanda Drew, Liam Carrigan, Amanda Ryan, Peter Wight 

Commentaire:   

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Théâtre

25) What the Butler Saw ()

Joué durant  1 mois 2 semaines

Première preview: mer. 24 août 2005
Première: lun. 05 septembre 2005
Dernière: sam. 22 octobre 2005

Metteur en scène: David Grindley •  
Chorégraphe:  
Avec: Jonathan Coy (Dr Prentice), Malcolm Sinclair (Dr Rance), Geoff Breton (Nicholas Beckett), Huw Higginson (Sergeant Match), Belinda Lang (Mrs Prentice), Joanna Page (Geraldine Barclay) 

Commentaire: A Transfer from the Hampstead Theatre  (plus) 

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Théâtre

24) Countess (The) ()

Joué durant  1 mois

Première preview: jeu. 02 juin 2005
Première: mar. 07 juin 2005
Dernière: sam. 09 juillet 2005

Metteur en scène: Ludovica Villar-Hauser •  
Chorégraphe:  
Avec: Jean Boht (Mrs Ruskin), Linda Thorson (Lady Elizabeth Eastlake), Nick Moran (John Ruskin), Alison Pargeter (Effie), Damian O'Hare (Millais), Gerald Harper (Mr Ruskin), Chris Garwood, Edmund Kente, Deidra Morris 

Commentaire:   

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Théâtre

23) Amajuba ()

Joué durant  3 semaines

Première preview: mar. 05 avril 2005
Première: mer. 06 avril 2005
Dernière: sam. 30 avril 2005

Metteur en scène: Yael Farber •  
Chorégraphe:  
Avec: Tshallo Chokwe, France Conradie, Bongi Mpangwana, Phillip 'Tipo' Tindisa, Tabulile Tshabalala 

Commentaire:   

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Théâtre

22) Bible: The Complete Word of God ()

Joué durant  2 ans 2 mois 2 semaines

Première preview: jeu. 16 janvier 2003
Première: jeu. 16 janvier 2003
Dernière: dim. 03 avril 2005

Metteur en scène:  
Chorégraphe:  
Avec: Rick Bland, Simon Jermond, Michael O'Connor, Kyle Dadd, Gary Fannin, John Schwab 

Commentaire: Titre complet: "The Bible: The Complete Word of God (abridged)"  (plus) 

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Théâtre

21) Complete History of America (Abridged) ()

Joué durant  9 ans 3 semaines

Première preview: mar. 12 mars 1996
Première: mar. 12 mars 1996
Dernière: dim. 03 avril 2005

Metteur en scène: Adam Long •  
Chorégraphe:  
Avec:  

Commentaire:   

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Théâtre

20) Complete Works of W Shakespeare (abridged) ()

Joué durant  9 ans 4 semaines

Première preview: mar. 05 mars 1996
Première: jeu. 07 mars 1996
Dernière: dim. 03 avril 2005

Metteur en scène:  
Chorégraphe:  
Avec:  

Commentaire:   

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Musical
West End Transfer

19) Elegies for Angels, Punks and Raging Queens (West End Transfer)

Joué durant  3 semaines

Nb de représentations: 32 représentations
Première preview: Inconnu
Première: lun. 28 juin 1993
Dernière: sam. 24 juillet 1993

Metteur en scène: Bill Russel •  
Chorégraphe:  
Avec: A cast of 23 performers including James Dreyfus, Sean Mathias, Graham Hoadley, Aidan Waters, Kim Criswell 

Commentaire: This was a revised production of the show which ran earlier in the year at the Drill Hall. In the larger venue it seemed to lose much of its impact, and only managed a four week run.  (plus) 

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Théâtre
Original

18) Run For Your Wife (Original)

Joué durant  5 ans 2 mois 3 semaines

Première preview: lun. 12 décembre 1983
Première: lun. 12 décembre 1983
Dernière: sam. 04 mars 1989

Metteur en scène: Ray Cooney •  
Chorégraphe:  
Avec:  

Commentaire: Previewed 18 March 1983, Opened 29 March 1983, Closed 10 December 1983 at the Shaftesbury Theatre
Transferred 12 December 1983, Closed 4 March 1989 at the Criterion Theatre
Transferred 6 March 1989, Closed 5 May 1990 at the Trafalgar Studio (Whitehall Theatre)
Transferred 15 May 1990, Closed 15 September 1990 at the Aldwych Theatre
Transferred 17 September 1990, Closed 14 December 1991 at the Duchess Theatre  (plus) 

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Musical
Original London

17) Tom Foolery (Original London)

Joué durant  

Première preview: Inconnu
Première: jeu. 05 juin 1980
Dernière: Inconnu

Metteur en scène: Gillian Lynne •  
Chorégraphe:  
Avec: Robin Ray, Jonathan Adams, Martin Connor, Tricia George 

Commentaire: A collection of songs by Tom Lehrer performed in revue style with great success.  (plus) 

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Théâtre

16) Bent ()

Joué durant  

Première preview: mer. 04 juillet 1979
Première: mer. 04 juillet 1979
Dernière: Inconnu

Metteur en scène: Robert Chetwynd •  
Chorégraphe:  
Avec: Ian McKellan, Tom Bell, Peter Cellier, Richard Gale, Jeremy Arnold, Roger Dean, John Francis, Ken Shorter, Terence Suffolk, Haydn Wood, Jeff Rawle 

Commentaire: Bent was first presented at the Royal Court Theatre in London, England, on May 3, 1979. It was directed by Robrt Chetwyn. The play subsequently transferred to London's West End at the Criterion Theatre on July 4, 1979. The play premiered on Broadway at the New Apollo Theatre in New York City on December 2, 1979. It was directed by Robert Allan Ackerman.

Named among the "10 most influential postwar British plays" by Guardian UK!  (plus) 

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Théâtre
Original

15) Butley (Original)

Joué durant  

Première preview: Inconnu
Première: mer. 14 juillet 1971
Dernière: Inconnu

Metteur en scène: Harold Pinter •  
Chorégraphe:  
Avec: Alan Bates (Ben Butley), Richard O'Callaghan (Joseph Keyston), Brenda Cavendish (Miss Heasman), Mary Wimbush (Edna Shaft), Colette O'Neil (Anne Butley), Michael Byrne (Reg Nuttall), George Fenton (Mr Gardner) 

Commentaire: Alan Bates won the 1971 Evening Standard Award for Best Actor for his performance. The role of Butley was subsequently taken on by Alec McCowen and Richard Briers in the same production.
Bates reprised his performance the following year in a Broadway production directed by James Hammerstein at the Morosco Theatre, where it ran for 14 previews and 135 performances. Bates won the Tony Award for Best Actor in a Play and the Drama Desk Award for Outstanding Performance, and Gray was nominated for the Tony Award for Best Play.  (plus) 

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Musical

14) Mandrake ()   

Joué durant  

Nb de représentations: 12 représentations
Première preview: jeu. 16 avril 1970
Première: jeu. 16 avril 1970
Dernière: Inconnu

Metteur en scène: Anthony Bowles •  
Chorégraphe:  
Avec:  

Commentaire:   

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Musical
Original

13) Mrs Wilson's Diary (Original)

Joué durant  

Nb de représentations: 175 représentations
Première preview: mar. 24 octobre 1967
Première: mar. 24 octobre 1967
Dernière: Inconnu

Metteur en scène:  
Chorégraphe:  
Avec:  

Commentaire: Créé au Theatre Royal, Stratford East le 21 septembre 1967  (plus) 

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Musical

12) Art of Living (The) ()

Joué durant  

Première preview: jeu. 18 août 1960
Première: jeu. 18 août 1960
Dernière: Inconnu

Metteur en scène:  
Chorégraphe:  
Avec:  

Commentaire: Revue based on the writings of Art Buchwald  (plus) 

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Théâtre

11) Not In The Book ()

Joué durant  

Première preview: Inconnu
Première: mer. 02 avril 1958
Dernière: Inconnu

Metteur en scène:  
Chorégraphe:  
Avec: Wilfrid Hyde White, Avice Langdon, Sydney Tafler 

Commentaire:   

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Spectacle
Original

10) Intimacy at 8.30 (Original)

Joué durant  

Nb de représentations: 551 représentations
Première preview: jeu. 29 avril 1954
Première: jeu. 29 avril 1954
Dernière: Inconnu

Metteur en scène: Michael Charnley •  
Chorégraphe:  
Avec: Joan Heal, Joan Sims, Dilys Lay, Aud Johansen, Eleanor Fazan, Ronnie Stevens, Digby Woolfe, Geoffrey Hibbert, Ron Moody and Peter Felgate 

Commentaire:   

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Théâtre

9) Tony Draws a Horse ()

Joué durant  

Première preview: Inconnu
Première: dim. 01 janvier 1939
Dernière: Inconnu

Metteur en scène:  
Chorégraphe:  
Avec: Margaret Emden, Nigel Patrick, Diana Churchill, Cyril Raymond, Kay Astor, James Harcourt, Janet Johnson, Lilian Braithwaite, John Turnbull, Hayley Bell, Antony Holles, Ben Wright, Norman Atkyns, Beryl Measor 

Commentaire:   

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Théâtre

8) Cat's Cradle (The) ()

Joué durant  

Première preview: Inconnu
Première: dim. 01 janvier 1933
Dernière: Inconnu

Metteur en scène:  
Chorégraphe:  
Avec: Marie Tempest, Louise Hampton, Gwen Wyndham, Agnes Imlay, Robert Andrews, Tom Reynolds, W Graham Browne 

Commentaire:   

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Théâtre
Original

7) Marquise (The) (Original)

Joué durant  3 mois 3 semaines

Nb de représentations: 129 représentations
Première preview: Inconnu
Première: mer. 16 février 1927
Dernière: sam. 11 juin 1927

Metteur en scène: Howard Wyndham •  
Chorégraphe:  
Avec: W. Graham Browne, Robert Harris, Frank Cellier, Godfrey Winn, Colin Johnston, Rupert Lister, Eileen Sharp, Marie Tempest, Lilian Cavanagh. 

Commentaire:   

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Théâtre

6) Marquise (The) ()

Joué durant  

Première preview: Inconnu
Première: sam. 01 janvier 1927
Dernière: Inconnu

Metteur en scène:  
Chorégraphe:  
Avec: Marie Tempest 

Commentaire:   

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Théâtre

5) Fata Morgana ()

Joué durant  

Première preview: Inconnu
Première: mar. 01 janvier 1924
Dernière: Inconnu

Metteur en scène:  
Chorégraphe:  
Avec: Tom Douglas, Annie Esmond, Flora Robson, Alfred Palmier, Guy Boulton, Ethel Coleridge, E. Watts-Phillips, Dorothy Hall, Lilian Oldland, Violet Penule, Roger Livksey, Audrey Cameron, Reginald Denham, Jeanne De Casalis, Aubrey Mather 

Commentaire:   

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Musical
Original

4) Amasis - an Egyptian Princess (Original)

Joué durant  

Nb de représentations: 300 représentations
Première preview: lun. 31 décembre 1906
Première: lun. 31 décembre 1906
Dernière: Inconnu

Metteur en scène:  
Chorégraphe:  
Avec:  

Commentaire: Créé au New Theatre (actuellement Noëm Coward Theatre) le 9 août 1906 et transféré au Criterion Theatre le 31 décembre 1906.  (plus) 

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Musical
Original

3) White Chrysanthemum (The) (Original)

Joué durant  5 mois 1 semaine

Nb de représentations: 179 représentations
Première preview: jeu. 31 août 1905
Première: jeu. 31 août 1905
Dernière: sam. 10 février 1906

Metteur en scène:  
Chorégraphe:  
Avec: Miss Isabel Jay (Sybil Cunningham / O San), Mr. Henry Lytton (Lieut. Reggie Armitage), Mr. Rutland Barrington (Admiral Horatio Armitage), Mr. Lawrence Grossmith (Lieut. "Chippy" Belmont), Miss Millie Legarde (Betty Kenyon), Miss Marie George (Cornelia Vanderdecken) 

Commentaire:   

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Théâtre

2) Billy's Little Love Affair ()

Joué durant  

Nb de représentations: 153 représentations
Première preview: mer. 02 septembre 1903
Première: mar. 15 septembre 1903
Dernière: Inconnu

Metteur en scène:  
Chorégraphe:  
Avec: Mr. Allan Aynesworth, Mr. Charles Groves, Mr. Sam Sothern, Mr. Mark Kinghorne, Mr. Orlando Daly, Mr. J.W. MacDonald, Mr. Ian Maclaren, Mr. Horton Cooper, Mr. William Pilling, Mr. S. Fenton, Miss Florence St. John, Miss Granville, Miss Carlotta Zerbini, Mrs. E. H. Brooke, Miss Alice Beet, Mrs. Cairns-James, Miss Eileen Warren, Miss Edith Cartwright, Miss Eva Moore 

Commentaire:   

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Musical
Original

1) Haste to the Wedding (Original)   

Joué durant  

Nb de représentations: 22 représentations
Première preview: jeu. 01 janvier 1970
Première: jeu. 01 janvier 1970
Dernière: jeu. 01 janvier 1970

Metteur en scène:  
Chorégraphe:  
Avec: Frank Wyatt (Woodpecker Tapping, a Bridegroom, Lionel Brough (Mr. Maguire, a Market Gardener), William Blakely (Uncle Bopaddy), George Grossmith, Jr. (Cousin Foodle), David James (The Duke of Turniptopshire, an Emotional Peer), Sidney Valentine (Major-General Bunthunder), Frank Atherley (Captain Bapp), Welton Dale (Cripps, a Milliner's Bookkeeper), Percy Brough (Wilkinson, a Policeman), Fred Bond (Barns, a Family Retainer), W. R. Shirley (Jackson, a Valet), Ellis Jeffreys (The Marchioness of Market Harborough, an Emotional Peeress), Marie Studholme (Maria Maguire, a Bride), Day Ford (Leonora), Sybil Carlisle (Bella Crackenthorpe, a Milliner), Haidee Crofton (Patty Parker, a Lady's Maid) 

Commentaire:   

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