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Her Majesty's Theatre
Londres
Angleterre

Construction:
Topologie du théâtre
Nombre de salles actives: 1
Salle 1: (1100)    - Actif
Accès
En métro: Piccadilly Circus
En bus: 6, 12, 13, 15, 22, 38, 58, 88
Adresse: 57 Haymarket, London, SW1Y 4QL
Evolution
Bâtiment: 1705. First theatre opens, named the Queen’s Theatre, designed by John Vanbrugh / 1791. Second theatre opens: the King’s Theatre, rebuilt by Michael Novosielski / 1869. Third theatre opens: Her Majesty’s Theatre, designed by Charles Lee / 1897. Fourth theatre opens: Her Majesty’s Theatre, designed by C. J. Phipps / Statutorily Listed Historic Building: Grade II*
Nom: Queen's Theatre / King's Theatre / Italian Opera House / His Majesty's Theatre (Le nom du théâtre change de Her Majesty's Theatre à His Majesty's Theatre si un roi monte sur le trône)
Propriétaire(s):
Really Usefull Group

Remarquable:
The Royal Opera Arcade (1816) by John Nash and George Repton / Interior (1897) by Romaine Walker / Finest English wooden stage machinery in London / Beerbohm Tree founded Royal Academy of Dramatic Art on adjacent site in 1904
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(1100)    - Actif

The Phantom of the Opera est prolongé jusqu'au 25 octbre 2014

 Londres (Angleterre)
 Her Majesty's Theatre  
 Phantom of the Opera (The)  
 Publié le 04 nov. 2013

Today a seemingly endless stream of traffic pours down Haymarket, as it drops southwards from Piccadilly Circus to Trafalgar Square, but on 9 April 1705, when the first theatre on the site was opened, the scene was vastly different. Since the mid-17th century a hay and straw market had flourished here to such an extent that it was considered by many to be a public nuisance; but it was on Crown land, and rather than order Its closure, in 1663 King Charles II granted to the Earl of St Albans the additional right to hold a twice- weekly cattle market, probably exacerbating the existing nuisance. It was not until 1830 that the trade in hay, straw and cattle was removed to Cumberland Market to the east of Regents Park, by which time some 30,000 loads were being turned over annually.
And so it must have been a rather agricultural environment that John Vanbrugh chose in 1703 as the location for a theatre he was to design for Thomas Betterton’s company of actors, backed by ‘thirty Persons of Cuallty’, to be known as the Queen's Theatre. Vanbrugh, who was just embarking on his new career as an architect, having spent his early life soldiering, was also a playwright and an opportunist, and he decided with Betterton to take advantage of disagreement and bad management at the Theatre Royal, Drury Lane. With fellow playwright William Congreve, Vanbrugh opened with Greber's opera, The Loves of Ergasto. However, two problems rapidly became apparent: first, Vanbrugh’s grasp of financial matters was somewhat shaky; and second, his natural urge to design In the grand manner resulted, as actor and dramatist Colley Cibber famously remarked, ‘In quality and convenience being sacrificed for a vast triumphal Piece of Architecture’. Over the ensuing years debt is a recurring theme in the theatre’s history until, on 17 June 1789, the building (by now known as the King's Theatre, having been renamed on the accession of George I), was totally destroyed by fire, allegedly set by one Carnlvalll, a disgruntled former employee.
Within two years, Michael Novosielski, a trustee of the earlier theatre, reconstructed the building on a scale that made It the second largest opera house in Europe, surpassed only by La Scala, Milan. Presenting opera and ballet, It opened on 26 March 1791, again as the King’s Theatre; it was here that Mozart’s Cost fan Tutte was first produced in London (1811), followed In 1812 by The Magic Flute. To ensure that it remained fashionable, John Nash collaborated in 1816 with George Repton, son of the more famous Humphrey Repton, to remodel the building, providing the attractive Royal Opera Arcade at its western end and colonnading the remaining sides. A golden age of opera followed the reconstruction, until an apparently faithful audience drifted away to the rising Royal Opera House in Covent Garden, and the renamed Her Majesty’s Theatre (1837) was forced to close in 1852. After a period of four years the theatre reopened, only to be ravaged by fire on 6 December 1867. Again, in 1869, the theatre was rebuilt within the skeletal walls that survived the fire by Charles Lee, an architect who had worked in the office of John Nash. He provided an auditorium of a quality commensurate with the design genius of his mentor, seating up to 2,500, and with a large stage, the whole incorporating a much improved fireproof construction. However, financial problems meant that the theatre failed to open until 1875, when it was used for religious meetings; later it retúrned to staging opera, and also pantomime, until in 1890 it again closed in debt. The contents were auctioned, and the building - apart from the Royal Opera Arcade - demolished.
Over the next five years various designs were considered for building on the vacant site, and In 1895 C. J. Phipps, one of the most prolific of theatre architects, whose golden rule was 'there must not be a bad seat In the house', was commissioned to rebuild the theatre for the great actor-manager Herbert Beerbohm Tree. In the present entrance foyer Is a green marble commemoration stone laid by Maud Beerbohm Tree on 16 July 1896. The Interior decoration was to be designed by Romaine Walker, Tree’s consulting architect.
Phipps devised the present stone-faced theatre, smaller than Its predecessor, on the northern part of the site In a French Renaissance style of four main storeys under attics and a large pavilion roof, crowned by a fine square dome. The southern part of the site would be occupied by the Carlton Hotel and Restaurant, which was to be demolished In 1957 to make way for New Zealand House, a predominantly glass building by Robert Matthew, Johnson-Marshall and Partners erected in 1963 and typical of Its age. C. J. Phipps did not live to see his theatre completed, dying in 1897, but he must have known that this last work would be one of his finest achievements. Today Her Majesty’s Theatre makes an important contribution to a street of mixed architectural fortunes. From Its northern approach - Piccadilly Circus - it is sad to see the dome, designed to emphasize the presence of the building, overshadowed by the looming, now slightly dour backdrop of New Zealand House; but In the heady post-war 1950s, this unfortunate juxtaposition would have raised few eyebrows.
Internally the auditorium, with its fanned stalls seating, cantilevered balconies and gallery, has a refined French neo-classical feel. The scagliola proscenium is flanked by three-tier boxes set between Corinthian columns. The original colours of white and gold have been replaced by a warmer green and apricot with gold highlighting. The flat stage conceals the finest set of English wooden stage machinery In London, including, at fly-floor level, an unusually complete thunder run.
Beerbohm Tree, for his part, took up residence in the specially fitted-out dome, living there until his death in 1917.
Among the many notable presentations at the theatre were Oscar Asche’s Chu Chin Chow, which ran for 2,238 performances In 1916; Noël Coward's Bitter Sweet (697 performances) In 1929; Fiddler on the Roof (2,030 performances) in 1967; West Side Story in 1984; and the superb Phantom of the Opera, which opened on 9 October 1986 and is still showing in 2010.

1705. First theatre opens, named the Queen’s Theatre, designed by John Vanbrugh / 1791. Second theatre opens: the King’s Theatre, rebuilt by Michael Novosielski / 1869. Third theatre opens: Her Majesty’s Theatre, designed by Charles Lee / 1897. Fourth theatre opens: Her Majesty’s Theatre, designed by C. J. Phipps / Statutorily Listed Historic Building: Grade II*

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Infos complémentaires:

The Stalls feel relatively intimate unlike other West End venues, and are only separated by an aisle running halfway down the centre. Seats grow outward from the stage but have a maximum of 35 seats per row. The circle overhang is visible from the back half of the stalls and can cover some features of the performance, most notably the infamous ‘accident’ at the end of Act One. Best seats are either side of the aisle halfway back in the stalls.

Pillars create obstructed seats at the back of the stalls in rows N and P, and it is worth checking before purchasing if you do not want a restricted view seat. Aim to sit in-between the pillars rather than directly behind them or around them. Seat Plan has learned that a good bargain may be had by purchasing a restricted view seat at a reduced price, as it is possible to sit so it is not a problem.

The Royal Circle has some excellent seats, most notably in the first six rows, nearest the centre. Because of the curve seats towards the ends of rows do become restricted, and this is reflected in the pricing structure. The section is split into three, with the central one offering the best overall view of the stage. Towards the back of each section however the overhang and pillars can create problems, and it is best to check before you book if this will be a problem. Pillars feature in row E, once in each side section and twice in the middle.

The Grand Circle is again split into three sections with a large block shaped central section. All seats in the central area are priced the same, and are heavily raked for a fuller view of the stage. Seat Plan has had some trouble with leg room in this section however, as well as with tourists who wish to talk throughout the show... Slightly cheaper in price, seats to the left and right of the Grand Circle, (especially those towards the front) boast great views of the stage. Unlike other theatres the balcony does not overhang the Grand Circle, so does not create any problems obstructing the view.

The Balcony in Her Majesty’s is not for the faint hearted. Set back from the Upper Circle rather than overhanging it, seats are raked and look sharply down onto the action. These seats are suitable for those wishing to see the show for cheap, but do not have a good sound or visual quality. Leg room is limited, and it can get hot during the summer. Seat Plan recommends paying that bit extra for the Upper Circle for a better experience, as it feels easily detached from the action. One redeeming feature however is the view of the Chandelier, and the ability to spot the Phantom in his movements around the auditorium.

Queen's Theatre / King's Theatre / Italian Opera House / His Majesty's Theatre (Le nom du théâtre change de Her Majesty's Theatre à His Majesty's Theatre si un roi monte sur le trône)

The Royal Opera Arcade (1816) by John Nash and George Repton / Interior (1897) by Romaine Walker / Finest English wooden stage machinery in London / Beerbohm Tree founded Royal Academy of Dramatic Art on adjacent site in 1904

Phantom of the Opera (The)
[27 sept. 86 - Open end]

Musical
Original

1) Phantom of the Opera (The) (Original)

Joué durant  33 ans 6 mois actuellement

Première preview: sam. 27 septembre 1986
Première: jeu. 09 octobre 1986
Dernière: Open end

Metteur en scène: Harold Prince •  
Chorégraphe: Gillian Lynne •  
Avec: Michael Crawford (Phantom), Sarah Brightman/Claire Moore (Christine), Steve Barton (Raoul), David Firth (Monsieur André), John Savident (Monsieur Firmin), Rosemary Ashe (Carlotta), Mary Millar (Madame Giry) 

Commentaire: Based on the 1910 novel “Le Fantome de l’Opera” ” by Gaston Leroux, “Phantom” began previews on September 27, 1986 and opened on October 9th. The production, still playing at Her Majesty's, celebrated its 24th anniversary in October 2010 and its 10,000th performance at the matinee on 23rd October 2010. It is the second longest-running West End musical in history behind Les Miserables.
“Phantom” won the 1986 Olivier and the 1988 Tony Award for Best Musical, and Michael Crawford won the Best Performer Award at both ceremonies. The show has been seen in 149 cities in 25 countries, and has played to over 100 million people. With total worldwide box office sales of over £3.5 billion it is the highest-grossing entertainment event of all time. The New York production alone has grossed US $800 million, making it the most financially successful Broadway show in history.
During its 25 years (and still running) in London, notable replacements in the role of Phantom have been Dave Willetts, Martin Smith, Peter Karrie, Peter Polycarpou, Simon Bowman, Peter Cousens, Mike Sterling, John Owen-Jones, Ramin Karimloo, and Nic Greenshields.
Replacement Christines have included Claire Moore, Rebecca Caine, Myra Malmberg, Rachel Barrell, Leila Benn Haerris, Robyn North and Gina Beck.
Replacement Raouls have included Michael Ball, Robert Meadmore, John Barrowman, Simon Burke, Clive Carter, Simon Bowman, Ramin Karimloo and Oliver Thornton.  (plus) 

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Musical
Revival

23) West Side Story (Revival)

Joué durant  1 an 4 mois 2 semaines

Première preview: mer. 16 mai 1984
Première: mer. 16 mai 1984
Dernière: sam. 28 septembre 1985

Metteur en scène: Jerome Robbins • Tom Abbott •  
Chorégraphe: Jerome Robbins • Tom Abbott •  
Avec: Steven Pacey (Tony), Jan Hartley (Maria), Richard Pettyfer (Riff), Sam Williams (Bernardo), Lee Robinson (Anita), David Morris (ii) (Chino), Adam Matalon (Action), Peter Leeper (A-Rab), Ian Embleton (Baby John), Garry Noakes (Snowboy) 

Commentaire: This production had originated at Leicester Haymarket and opened in December 1983. It had been on a UK tour which culminated in a West End season from May 1984 to October 1985. Later cast changes saw Peter Bruce and Karyn O’Neill take over the leads.  (plus) 

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Musical
Original

22) Bugsy Malone (Original)

Joué durant  8 mois 3 semaines

Nb de représentations: 300 représentations
Première preview: Inconnu
Première: jeu. 26 mai 1983
Dernière: sam. 11 février 1984

Metteur en scène: Mickey Dolenz •  
Chorégraphe: Gillian Gregory •  
Avec:  

Commentaire: Notes: This theatrical curiosity used an all-child cast to re-create the Alan Parker film, but instead of machine gun killings, the young people spray each other with splurge guns. The children handle the dialogue themselves, but then mime the songs to the off-stage singing of adults. The first Bugsy was played by Jeremy Gilley. The laws concerning performers under the age of 16 meant that the cast was constantly changing. While the show might possibly have had some value in youth companies and schools, the general view was that it had no business whatsoever to occupy a major West End theatre.  (plus) 

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Musical
Recréation

21) Streets of London (The) (Recréation)

Joué durant  3 mois 1 semaine

Nb de représentations: 122 représentations
Première preview: Inconnu
Première: mar. 21 octobre 1980
Dernière: sam. 31 janvier 1981

Metteur en scène: Diane Cilento •  
Chorégraphe: Noel Tovey •  
Avec: William Squire (Gideon Bloodgood), Michael Carter (Badger), Helen Cherry (Mrs Fairweather), Susannah Fellows (Lucy Fairweather), Richard Walsh (Paul Fairweather), Royce Mills (Edwards), Jane Wymark (Alida Bloodgood), Mark Livingstone (Frank Grimes), Shaun Curry 

Commentaire: Dion Boucicault’s play of dastardly doings and retributions was adapted from the French “Les pauvres de Paris” and was first presented in New York in 1857 under the title “The Streets of New York”. When Boucicault returned to England it was performed as “The Streets of Liverpool” and then changed its title according to whichever town it was performed in on its way to London. The play mixed melodramatic spectacle and social observation to become a Christian sermon in which the audience was encouraged to give to the poor on their way out of the theatre. Even in its earliest form it was accompanied by music-hall type songs
This new musical version originated at the Theatre Royal, Stratford East for a three week season in March, and then was much re-written and enlarged for its West End run. In its original 1864 London production the sensation was the scene of a burning house with a real fire-engine and real horses on stage. This scene worked well on the small East London stage, but seemed rather feeble on the vast expanses of Her Majesty’s Theatre. The show was praised by the critics but failed to run very long.  (plus) 

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Musical
Original London

20) On the Twentieth Century (Original London)

Joué durant  

Nb de représentations: 165 représentations
Première preview: Inconnu
Première: mer. 19 mars 1980
Dernière: Inconnu

Metteur en scène: Peter Coe •  
Chorégraphe: Larry Fuller •  
Avec: Keith Michell (Oscar Jaffee), Julia McKenzie (Lily Garland),
Mark Wynter (Bruce Granit), Ann Beach (Letitia Primrose),
Jeff Wayne, Fred Evans, David Healy, Peter Johnston 

Commentaire:   

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Musical
Original London

19) Ain't Misbehavin' (Original London)

Joué durant  

Nb de représentations: 196 représentations
Première preview: Inconnu
Première: jeu. 22 mars 1979
Dernière: Inconnu

Metteur en scène: Richard Jr Maltby •  
Chorégraphe: Arthur Faria •  
Avec: Evan Bell, André de Shields, Annie Joe Edwards, Jozella Reed, Charlaine Woodard 

Commentaire: A musical revue and tribute to the black musicians of the 1920s and 1930s who
were part of the Harlem Renaissance, an era of growing creativity, cultural awareness, and ethnic pride. Manhattan nightclubs like the Cotton Club and the Savoy Ballroom attracted the high society, while the Lennox Avenue low-down dives were filled with piano players banging out the new beat known as swing. Five performers present an evening of rowdy, raunchy, and humorous songs that encapsulate the various moods of the era and vaguely tell the story and philosophy of Fats Waller.  (plus) 

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Musical
Original

18) Traveling Music Show (The) (Original)

Joué durant  

Première preview: Inconnu
Première: mar. 28 mars 1978
Dernière: Inconnu

Metteur en scène: Burt Shevelove •  
Chorégraphe: Norman Maen •  
Avec: Bruce Forsyth (Fred Limelight), Valerie Walsh (Evie Limelight), Katie Budd (Sam Limelight), Derek Griffiths (Reg), Tony Maiden (Kim) 

Commentaire: The show is a series of sketches evoking street-comer rip-off artists and tawdry tourist tat, using the hit songs Leslie Bricusse and Anthony Newley had written for their earlier shows. “The Good Old Bad Old Days” is performed by Fred and Reg as two incontinent drunks, and “Nothing Can Stop Me Now” is performed by a quivering goalkeeper. With Bruce Forsyth ad-libbing throughout in his accepted breezy manner, this was a variety show cum revue rather than any kind of structured musical.  (plus) 

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Musical
Revival

17) Godspell (Revival)

Joué durant  

Nb de représentations: 98 représentations
Première preview: mar. 10 mai 1977
Première: mar. 10 mai 1977
Dernière: Inconnu

Metteur en scène: Robert Cheeseman •  
Chorégraphe: Rowan Stuart •  
Avec: Allan Love (Jesus), Susan Beagley, Paul Burton, Anna Daventry, Paul Kerryson, Edward Newborn, Valerie Minifie, Janet Shaw, Andrew Secombe. 

Commentaire: This was a short “fill-in” following the collapse of “Fire Angel - it was already on a UK tour.  (plus) 

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Musical
Original

16) By Jeeves (Original)

Joué durant  1 mois

Nb de représentations: 38 représentations
Première preview: Inconnu
Première: mar. 22 avril 1975
Dernière: sam. 24 mai 1975

Metteur en scène: Eric Thompson •  
Chorégraphe: Christopher Bruce •  
Avec:  

Commentaire: Le titre à l'époque était "Jeeves", tout simplement.
Terrible Flop. Le metteur en scène, Eric Thompson, est viré à quelques jours de la première.  (plus) 

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Musical
Original London

15) Pippin (Original London)   

Joué durant  

Nb de représentations: 85 représentations
Première preview: mar. 30 octobre 1973
Première: mar. 30 octobre 1973
Dernière: Inconnu

Metteur en scène: Bob Fosse •  
Chorégraphe: Bob Fosse •  
Avec: Norman J. Calloway (Leading Player) , Paul Jones (Pippin) , John Turner (Charlelemagne ), Bobby Bannerman (Lewis), Diane Langton (Fastrada), Elisabeth Welch (Berthe) 

Commentaire: This was an anti-war story in a commedia-dell-arte style, reminiscent of the “flower power” philosophy of the recent past, and was a great success on Broadway, running for 1.944 performances. The London production was an expensive flop.  (plus) 

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Musical
Original London

14) Applause (Original London)

Joué durant  

Nb de représentations: 382 représentations
Première preview: Inconnu
Première: jeu. 16 novembre 1972
Dernière: Inconnu

Metteur en scène: Ron Field •  
Chorégraphe: Ron Field •  
Avec:  

Commentaire:   

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Musical
Original London

13) Company (Original London)

Joué durant  9 mois 3 semaines

Nb de représentations: 344 représentations
Première preview: mar. 18 janvier 1972
Première: mar. 18 janvier 1972
Dernière: sam. 04 novembre 1972

Metteur en scène: Harold Prince •  
Chorégraphe: Michael Bennet •  
Avec: Robert … Larry Kert
Sarah … Marti Stevens
Harry … Kenneth Kimmins
Susan … Joy Franz
Peter … J. T. Cromwell
Jenny … Teri Ralston
David … Lee Goodman
Amy … Beth Howland
Paul … Steve Elmore
Joanne … Elaine Stritch
Larry … Robert Goss
Marta … Annie McGreevey
Kathy … Donna McKechnie
April … Carol Richards 

Commentaire:   

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Musical
Original London

12) Fiddler on the Roof (Original London)

Joué durant  

Nb de représentations: 2030 représentations
Première preview: Inconnu
Première: jeu. 16 février 1967
Dernière: Inconnu

Metteur en scène:  
Chorégraphe:  
Avec:  

Commentaire:   

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Musical
Original London

11) Bye Bye Birdie (Original London)

Joué durant  

Nb de représentations: 268 représentations
Première preview: Inconnu
Première: jeu. 15 juin 1961
Dernière: Inconnu

Metteur en scène: Gower Champion •  
Chorégraphe: Gower Champion •  
Avec:  

Commentaire:   

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Musical
Original London

10) West Side Story (Original London)

Joué durant  

Nb de représentations: 1039 représentations
Première preview: ven. 12 décembre 1958
Première: ven. 12 décembre 1958
Dernière: Inconnu

Metteur en scène: Jerome Robbins •  
Chorégraphe: Jerome Robbins •  
Avec: George Chakiris (Riff), Don McKay (Tony), Eddie Roll (Action), Tony Mordente (A-Rab), Ed Verso (Baby John), Riggs O'Hara (Snowboy), David Bean (Big Deal), Gary Cockrell (Diesel), Michael Kleinman (Gee-Tar), Joe Donovan (Mouthpiece) 

Commentaire:   

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Musical
Revival

9) Brigadoon (Revival)

Joué durant  

Nb de représentations: 685 représentations
Première preview: Inconnu
Première: jeu. 14 avril 1949
Dernière: Inconnu

Metteur en scène:  
Chorégraphe:  
Avec:  

Commentaire:   

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Musical
Revival

8) Irene (Revival)

Joué durant  

Nb de représentations: 158 représentations
Première preview: mer. 21 mars 1945
Première: mer. 21 mars 1945
Dernière: Inconnu

Metteur en scène: William Mollison •  
Chorégraphe: ???? ???? •  
Avec: Pat Taylor (Irene Dare), Frank Leighton (Donald Marshall), Arthur Riscoe (Mme Lucy), Mignon O’Doherty (Mrs O ’Dare), Doreen Percheron (Helen) 

Commentaire:   

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Musical
Original

7) Balalaika (Original)

Joué durant  

Nb de représentations: 569 représentations
Première preview: Inconnu
Première: mar. 22 décembre 1936
Dernière: Inconnu

Metteur en scène: Leontine Sagan •  
Chorégraphe: Joan Davis •  
Avec: Eric Marshall (Colonel Balakirev), Dorothy Seacombe (Mrs Morrison), Bennett O’Loughlan (Randall P. Morrison), Roger Treville (Peter Karagin), Muriel Angelus (Lydia Marakova), Jerrold Robertshaw (Prince Karagin), Arthur Hardy (Marakov), Clifford Mollinson (Nicki), Betty Warren (Masha) 

Commentaire: This is a revised version of the 1933 play “The Great Hussar”. With gipsy songs and dances, a major ballet performance, dramatic revolution scenes, and Cossack dancing it was a great critical and popular success.
An MGM film version was made in 1939 starring Nelson Eddy and Ilona Massey using a new score made up of songs by Sigmund Romberg. Only one song, “At the Balalaika” remained from the original stage show.

London Run: Adelphi Theatre 22/12/1936 - Transferred to His Majesty's 6/2/1937 - Transferred to Adelphi 19/2/1938.  (plus) 

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Musical
Original London

6) Die Dubarry (Original London)

Joué durant  

Nb de représentations: 397 représentations
Première preview: jeu. 14 avril 1932
Première: jeu. 14 avril 1932
Dernière: Inconnu

Metteur en scène: Felix Edwardes •  
Chorégraphe: Anton Dolin •  
Avec: Anny Ahlers (Jeanne), Margaret Yarde (Mme. Labille), Heddle Nash (René Lavallery), Edmund Willard (Comte Dubarry), Helen Haye (Maréchale de France), Lawrence Anderson (Louis XV) 

Commentaire:   

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Musical
Original

5) Bitter Sweet (Original)

Joué durant  1 an 7 mois 2 semaines

Nb de représentations: 728 représentations
Première preview: Inconnu
Première: jeu. 18 juillet 1929
Dernière: sam. 28 février 1931

Metteur en scène:  
Chorégraphe:  
Avec: Claude Farrow, Dorothy Bond, William Harn, Billy Milton, Peggy Wood, Alan Napier, George Metaxa, Ivy St Helier, Isla Bevan, Austin Trevor, Robert Newton, Nancy Bevill, Maureen Moore, Arthur Alexander 

Commentaire: Transféré au Palace Theatre du 2/3/1934 au 21/3/1931  (plus) 

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Théâtre
Original London

4) Porgy (Original London)

Joué durant  1 mois 3 semaines

Nb de représentations: 61 représentations
Première preview: mer. 10 avril 1929
Première: mer. 10 avril 1929
Dernière: sam. 01 juin 1929

Metteur en scène: Rouben Mamoulian •  
Chorégraphe:  
Avec:  

Commentaire:   

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Théâtre
Original

3) Beau Geste (Original)

Joué durant  1 mois

Nb de représentations: 39 représentations
Première preview: Inconnu
Première: mer. 30 janvier 1929
Dernière: lun. 04 mars 1929

Metteur en scène: Basil Dean •  
Chorégraphe:  
Avec: Laurence Olivier 

Commentaire:   

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Musical
Original London

2) Oh, Kay! (Original London)

Joué durant  6 mois

Nb de représentations: 215 représentations
Première preview: Inconnu
Première: mer. 21 septembre 1927
Dernière: sam. 24 mars 1928

Metteur en scène:  
Chorégraphe:  
Avec: Gertrude Lawrence (Kay Denham), Harold French (Jimmy Winter), John Kirby (Shorty McGee), Claude Hulbert (Duke of Datchet), Beth & Betty Dodge (Phil & Dolly Ruxton), Eric Coxon (Larry Potter), April I larmon (Constance Appleton), Percy Parsons (Revenue Officer), Rita McLean (Molly Morse) 

Commentaire: Gertrude Lawrence became the first English actress to originate a role on Broadway before playing it in London. The Broadway production opened in November 1926 and ran for 256 performances, with Gertrude Lawrence playing opposite Oscar Shaw and Victor Moore. It was the first of two Gershwin musicals specially written Gertie Lawrence. (The second, “Treasure Girl”, was a flop.)  (plus) 

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Musical
Original

1) Chu Chin Chow (Original)

Joué durant  

Nb de représentations: 2238 représentations
Première preview: jeu. 03 août 1916
Première: jeu. 03 août 1916
Dernière: Inconnu

Metteur en scène:  
Chorégraphe:  
Avec: Oscar Asche (Abu Hasan), Frank Cochrane (Kassim Baba), Courtice Pounds (Ali Baba), J.V. Bryant (Nur Al-Huda Ali), Norman Williams (Abdullah), Violet Essex (Marjanah), Lily Brayton (Zahrat Al-Kulub), Aileen D'Orme (Alcolom), Sydney Fairbrother (Mahbubah) 

Commentaire: Est resté le longest running à Broadway pendant près de 40 ans, jusqu'à ce que Salad Days le dépasse.
The original production at His Majesty’s Theatre in August 1916 ran for an astonishing 2,238 performances, becoming the longest running musical in the West End, a record it held for almost 40 years, until it was finally overtaken by “Salad Days”. The production made a star of Oscar Ashe, but probably owed much of its success to providing battle-weary troops with lavish spectacle, scantily-clad slave girls and a chance to forget the Great War’s trenches. Its incredible success was not repeated on Broadway, in spite of Tyrone Power in the lead, where the New York production in October 1917 managed just 208 performances  (plus) 

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