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Lyric Theatre
Londres
Angleterre

Construction: 1888
Topologie du théâtre
Nombre de salles actives: 1
Salle 1: (916)    1888 - Actif
Accès
En métro: Piccadilly Circus
En bus: 14,19,22B, 38,53,88,94,159
Adresse: 29 Shaftesbury Avenue, London, W1D 7ES
Evolution
Bâtiment: 1886: Theatre designed by Charles J. Phipps for Henry J. Leslie / 1888: Theatre opens as the first of four to be built at the southern end of the newly opened Shaftesbury Avenue / Statutorily Listed Historic Building: Grade II.
Nom:
Propriétaire(s):


Remarquable:
The façade of Dr William Hunter’s house (1767) / The three-tier classical auditorium / Upper-circle bar
thm-img

(916)    1888 - Actif

Thriller Live prolongé jusqu'au 28 septembre 2014

 Londres (Angleterre)
 Lyric Theatre  
 Thriller Live!  
 Publié le 02 oct. 2013

Awkwardly shaped sites in the West End were no hindrance to such entrepreneurs as Henry J. Leslie, who in 1886 took an 80-year lease from the Metropolitan Board of Works to build a theatre at the southern end of the newly opened Shaftesbury Avenue. He then purchased the freehold of the adjoining Café I’Etolle, which occupied the former house and museum of the 18th-century anatomist Dr William Hunter. The brick-faced building fronting on to Great Windmill Street was designed in 1767 by Scotsman Robert Mylne, a fine, prolific architect, to house Hunter’s library, anatomical theatre and dissecting rooms as well as his living accommodation. Of the house, only the rather nondescript street elevation of painted brickwork suiwes, a London County Council blue plaque paying tribute to the great medical man.
Leslie chose C. J. Phipps to design his theatre on what was, at the time, a virtually isolated site. He financed the development with the profits he made from Alfred Cellier and B. C. Stephenson’s comic opera Dorothy, and saw It as a money-making concern. With the eye of an entrepreneur, Leslie stipulated that the building must incorporate rentable offices and chambers, a requirement that múst have generated considerable discussion between architect and client.
Phipps planned his theatre, which opened in 1888, behind a 150-foot-long screen wall to Shaftesbury Avenue. Designed in an Italian-Fiemish Renaissance manner, it is faced in red brick with stone dressings, bearing the name of the theatre carved in large letters above a central pavilion. The stage backs on to Great Windmill Street, with dressing rooms built Into the remains of Hunter’s house. Decorated in an Adamesque manner, the auditorium was originally pale lemon, white and gold, with hangings of gold and coral brocatelle - appropriate colours which have been replaced by a less felicitous overall hue of warm, deepish salmon pink. At upper-circle level is the finest of the theatre's bars, presented as a 17th-century room but Incorporating mid-18th-century detail. Included on the chimney piece are masks depicting the Green Man, a symbol of fertility, accompanied by what appears to be the Devil himself! Modifications to the entrance vestibule, crush room and stalls bar by Michael Osenauer in 1932, in a simple Odeon style, have done little to enhance the building.
An extensive list of successful productions extends from Wilson Barrett’s The Sign of the Cross in 1896, through The Chocolate Soldier, a musical interpretation of Shaw’s Arms and the Man (1910) and J. B. Priestley's Dangerous Corner (1932), to Alan Bennett's Habeas Corpus (1973), a success for the late Sir Alec Guinness and indeed Bennett himself, who appeared as Mrs Swabb.

1886: Theatre designed by Charles J. Phipps for Henry J. Leslie / 1888: Theatre opens as the first of four to be built at the southern end of the newly opened Shaftesbury Avenue / Statutorily Listed Historic Building: Grade II.

The façade of Dr William Hunter’s house (1767) / The three-tier classical auditorium / Upper-circle bar

Thriller Live!
[02 janv. 09 - Open end]

Musical
Revival

1) Thriller Live! (Revival)   

Joué durant  11 ans 3 mois 1 semaine actuellement

Première preview: ven. 02 janvier 2009
Première: mer. 21 janvier 2009
Dernière: Open end

Metteur en scène: Gary Lloyd •  
Chorégraphe: Gary Lloyd •  
Avec: Kiran Alleyne / John Moabi/ Roger Wright/ Ben Foster/ Ricko Baird/ Sterling Williams ( Jacksons), Denise Pearson, Gary Lloyd 

Commentaire:   

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Musical
Reprise

19) Showstopper! The Improvised Musical (Reprise)

Joué durant  5 mois 1 semaine

Première preview: lun. 15 février 2016
Première: lun. 15 février 2016
Dernière: lun. 25 juillet 2016

Metteur en scène: Adam Meggido •  
Chorégraphe:  
Avec: Ruth Bratt, Justin Brett, Dylan Emery, Pippa Evans, Susan Harrison, Sean McCann, Adam Meggido, Philip Pellew, Andrew Pugsley, Oliver Senton, Lucy Trodd and Sarah-Louise Young 

Commentaire: Transfert du spectale joué à l'Apollo Theatre de Londres.
Joué les lundis de relâche.  (plus) 

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Musical
Revival

18) Cabaret (Revival)

Joué durant  1 an 8 mois 2 semaines

Nb de représentations: 704 représentations
Première preview: sam. 23 septembre 2006
Première: mar. 10 octobre 2006
Dernière: sam. 21 juin 2008

Metteur en scène: Rufus Norris •  
Chorégraphe: Javier De Frutos •  
Avec: Anna Maxwell Martin (Sally Bowles), James Dreyfuss (Emcee), Michael Hayden (Clifford), Sheila Hancock (Fräulein Schneider), Geoffrey Hutchings (Herr Schultz), Andrew Maud (Ernst Ludwig), Harriet Thorpe (Fräulein Kost).
Later replacements were Kim Medcalf and Amy Nuttall as Sally, Julian Clary and Alistair McGowan as the Emcee, and Honor Blackman and Angela Richards as Fraulein Schneider. 

Commentaire: This was, to date, the darkest and most gritty interpretation of “Cabaret”. During “Tomorrow Belongs to Me”, sung by a fresh-voiced Aryan youth, the company cavorted nude like the naturists of the period. In the finale the same
naked dancers piled up on top of each other in the gas chambers. This compelling, fearless and frank production was not to everyone’s taste, but it ran the best part of two years, and won an Olivier Award for Sheila Hancock. It closed on June 21st 2008.  (plus) 

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Musical
Original

17) Beautiful and Damned (Original)   

Joué durant  3 mois

Première preview: mer. 28 avril 2004
Première: lun. 10 mai 2004
Dernière: sam. 14 août 2004

Metteur en scène: Craig Revel Horwood •  
Chorégraphe: Craig Revel Horwood •  
Avec: Avec: Michael Praed (F Scott Fitzgerald), Helen Anker (Zelda Fitzgerald), David Burt (Judge Sayre), Susannah Fellows (Minnie Sayre), Phillip Aiden, Valerie Cutko, Heather Douglas, Candice Evans, Nicola Filshie, Katie Foster-Barnes, Loren Geeting, Jo Gibb, Jolyon James, Jacqui Jameson, Jane Lucas, Amber Neale, Stuart Nurse, Jake Samuels, Craig Scott, Djalenga Scott, Spencer Stafford, Ben Tribe 

Commentaire: Using the title of F. Scott Fitzgerald’s second novel, this was based on the true life story of Scott and Zelda. It was an expensive production with a lavish water fountain effect at the end of Act One. The critical reaction was extremely damning - “this calamitous enterprise resembles a slow motion car crash” - dull songs and an extremely dull book was the general verdict.  (plus) 

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Théâtre

16) Constant Wife (The) ()

Joué durant  3 mois 1 semaine

Première preview: mar. 02 juillet 2002
Première: mar. 02 juillet 2002
Dernière: sam. 12 octobre 2002

Metteur en scène: Edward Hall •  
Chorégraphe:  
Avec: Jenny Seagrove (Constance MIddleton), Amanda Harris (Martha), Natalie Walter (Marie-Louise), Moira Lister, Rupert Frazer, Steven Pacey, Eric Carte 

Commentaire: Prolongation de la série de l'Apollo Theatre 2 avril 02 au 29 juin 2002 au Lyric Theatre voisin  (plus) 

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Musical
Original

15) Maddie (Original)

Joué durant  1 mois 1 semaine

Nb de représentations: 48 représentations
Première preview: lun. 22 septembre 1997
Première: lun. 29 septembre 1997
Dernière: sam. 08 novembre 1997

Metteur en scène: Martin Connor •  
Chorégraphe: David Toguri • Jenny Arnold •  
Avec: Graham Bickley (Nick), Summer Rognlie (Jan/Maddie), Lynda Baron (Cordelia van Arc), Kevin Colson (AI), Beth Tuckey, Jon Rumney, Russell Wilcox, Michael A Elliott, Paddy Glynn, Louise Davidson, Nicola Filshie, Martin Parr. 

Commentaire: Based on the novel “Marion’s Wall” by Jack Finney, and its film adaptation, “Maxie” with Glenn Close. The production was first staged at the Salisbury Playhouse, but it failed to find backing for a London transfer until the Daily Telegraph covered the story and more than a hundred of its readers became individual “angels”, raising some £150,000. It ran for six weeks and lost over half a million pounds.  (plus) 

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Théâtre
Original

14) Marlene (Original)

Joué durant  5 mois

Première preview: jeu. 03 avril 1997
Première: mar. 08 avril 1997
Dernière: sam. 06 septembre 1997

Metteur en scène: Sean Mathias •  
Chorégraphe:  
Avec: Sian Phillips (Marlene Dietrich), Lou Gish (Vivian Hoffman), Billy Mathias (Mutti) 

Commentaire: Sian Phillips created a supremely faithful vocal and physical impression of the real Marlene Dietrich, the great survivor. Her performance was universally praised, portraying what Sheridan Morley called “a musical Mother Courage” and providing a constant reminder of what could be done by sheer chemistry of the human spirit alone.  (plus) 

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Musical
Revival

13) By Jeeves (Revival)

Joué durant  4 mois 3 semaines

Nb de représentations: 164 représentations
Première preview: jeu. 03 octobre 1996
Première: jeu. 03 octobre 1996
Dernière: sam. 22 février 1997

Metteur en scène: Kate Young •  
Chorégraphe: Kate Young •  
Avec: Steven Pacey (Bertie Wooster), Malcolm Sinclair (Jeeves), Simon Day (Gussie), Richard Long (Stinker), Lucy Tregear (Honoria Glossop), Cathy Sara (Stiffy Byng), Diana Morrison (Madeleinej, Nicholas Haverson (Bingo Little), Robert Austin (Sir Watkyn Bassett) 

Commentaire: This was a completely revised version of “Jeeves”, the 1975 flop, re-titled “By Jeeves”. Instead of the large-scale original, the new version was a small-scale play with songs. Ayckbourn had thrown out the aunts and the pigs and all the other eccentric stuff and created an entirely new plot: Bertie intends to play his banjo at a charity performance at the local village hall but Jeeves hides the offending instrument. Andrew Lloyd Webber came up with eight new songs with five songs retained from the original. This time it was a success, described as “one of the slickest comebacks since Lazarus”. However, it still only managed just over a six month run.  (plus) 

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Musical
Original

12) Ferry cross the mercey (Original)

Joué durant  3 semaines

Nb de représentations: 32 représentations
Première preview: lun. 05 août 1996
Première: lun. 12 août 1996
Dernière: sam. 07 septembre 1996

Metteur en scène: Carole Todd •  
Chorégraphe: Carole Todd •  
Avec: Gerry Marsden {Himself), Carl Krishner (Young Gerry), Jaison Beeson, Neil Dale, Richard Mogendorf. Adam Keast, Andy Cairns, Jacqui Cryer, Sean Fitzpatrick, Vicki Stevens, Kevin Jackson, Sam Kelly. 

Commentaire: Described as “charitable, gentle and inoffensive, more a concert than a musical”, Gerry Marsden’s genuinely nice and sunny personality charmed most of the critics. It ran 8 weeks.  (plus) 

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Musical
Revival

11) Ain't Misbehavin' (Revival)

Joué durant  6 mois 3 semaines

Première preview: lun. 13 mars 1995
Première: lun. 13 mars 1995
Dernière: sam. 30 septembre 1995

Metteur en scène: Gillian Gregory • Nicholas Kent •  
Chorégraphe: Gillian Gregory •  
Avec: Ray Shell, Debby Bishop, Dawn Hope, Melanie Marshall, Sean Palmer 

Commentaire: This revival was in its original “chamber” style rather than the large-scale
production staged at Her Majesty’s in 1979. It received a number of rave notices for Sean Palmer, hailed as an exceptional bright new star.  (plus) 

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Musical
Original

10) Five Guys Named Moe (Original)

Joué durant  4 ans 2 mois 3 semaines

Première preview: Inconnu
Première: ven. 14 décembre 1990
Dernière: sam. 04 mars 1995

Metteur en scène: Paulette Randall •  
Chorégraphe: Charles Augins •  
Avec: Clarke Peters (Four Eyed Moe - Stratford), C. Derricks-Carroll (Four Eyed Moe - Lyric), Kenny Andrews (Big Moe), Paul J. Medford (Little Moe), Peter Alex Newton (No Moe), Omar Okai {Eat Moe), Dig Wayne (Nomax) 

Commentaire: Paulette Randall was credited as director at Stratford, but when the show came to London her name had disappeared and the Charles Augins was credited as Director-Choreographer. The show involved audience participation, with the audience invited to join a conga line through the auditorium during the intervals and out into the street after the show. Under the slogan “The Joint Never Stops Jumpin’” this was a long-running success. In April 1992 it was re-created on Broadway for a year’s run and 445 performances.  (plus) 

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Musical
Revival

9) Stop the world - I want to get off (Revival)

Joué durant  1 mois 1 semaine

Nb de représentations: 56 représentations
Première preview: Inconnu
Première: jeu. 19 octobre 1989
Dernière: sam. 25 novembre 1989

Metteur en scène: Anthony Newley •  
Chorégraphe: Kenn Oldfield •  
Avec: Anthony Newley (Littlechap), Rhonda Burchmore (Evie Littlechap) Fiona Alexander, Dollie Henry, Julia Howson, Samantha Hughes, Kim Ismay, Victoria Lynson, Emma Priest, Wendy Schoeman, Martine McCutcheon, Denise Outen, Chase Marks. 

Commentaire: This revival was not a success, running just five weeks, and said to have lost over £500,000.  (plus) 

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Musical
Original London

8) Gigi (Original London)

Joué durant  7 mois

Nb de représentations: 240 représentations
Première preview: mar. 17 septembre 1985
Première: mar. 17 septembre 1985
Dernière: sam. 19 avril 1986

Metteur en scène: John Dexter •  
Chorégraphe: Leo Andrew •  
Avec: Jean-Pierre Aumont (Honoré Lachailles), Geoffrey Burridge (Gaston Lachailles), Carrie Ellis (Liane d'Exelmans), Beryl Reid (Inez Alvarez (Mamita)), Amanda Waring (Gigi), Siân Phillips (Aunt Alicia), Rex Robinson (Charles/Head Waiter), David De Van (Maitre Duclos/Hotel Manager), John Aron (Manuel/Maitre Du Fresne/Telephone) Installer), Alexandra Denman (Lucille (Gigi's) Mother) 

Commentaire: Lerner & Loewe’s 1958 MGM film, “Gigi” was based on the novel by Colette and collected 9 Academy Awards. They were encouraged to create a stage version, though this did not happen until 1973 when the Broadway production with Alfred Drake, Agnes Moorhead and Daniel Massey turned out to be a flop, running just three months. It took another 12 years before the show came to London, this time scaled down, using actors capable of creating a “boulevard” style rather than singers, and re-written in a simpler, less extravagant style. The production ran seven months  (plus) 

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Musical
Original London

7) Blood Brothers (Original London)

Joué durant  6 mois 2 semaines

Nb de représentations: 224 représentations
Première preview: Inconnu
Première: lun. 11 avril 1983
Dernière: sam. 22 octobre 1983

Metteur en scène: Chris Bond •  
Chorégraphe:  
Avec: Barbara Dickson (Mrs Johnstone), George Costigan (Mickey), Andrew C. Wadsworth (Eddie), Amanda York (Linda), Wendy Murray (Mrs Lyons), Andrew Schofield (Narrator), Peter Christian, Alan Leith 

Commentaire: La création du spectacle à Londres pour 7 petits mois. En fait, le bouche à oreille s'était amorcé, mais il était trop tard, le théâtre avait ét loué pour un nouveau spectacle.
Originally produced at the Liverpool Playhouse in January, for an eleven week run, this was based on Dion Boucicault’s 19th Century melodrama “The Corsican Brothers”. This version had an excellent reception for the outstanding performance by Barbara Dickson and the much-praised performances of Andrew C. Wadsworth and George Costigan. However, a few critics thought the characters were too black-and-white : the poor family and the posh family were rather obvious stereotypes, and the social comment was a bit heavy-handed and unsubtle. Notwithstanding, the show had a successful run and was recognised as something rather special, winning the Best New Musical of the Year Award. Five years after its first West End run it was revised and re-produced by Bill Kenwright in 1988 and was an outstanding, triumphant success, becoming one of the longest-running musicals of the 20th Century.  (plus) 

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Musical
Original London

6) She loves me (Original London)

Joué durant  

Nb de représentations: 189 représentations
Première preview: mer. 29 avril 1964
Première: mer. 29 avril 1964
Dernière: Inconnu

Metteur en scène:  
Chorégraphe:  
Avec:  

Commentaire:   

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Musical
Original London

5) Irma la Douce (Original London)

Joué durant  

Nb de représentations: 1512 représentations
Première preview: jeu. 17 juillet 1958
Première: jeu. 17 juillet 1958
Dernière: Inconnu

Metteur en scène: Peter Brook •  
Chorégraphe: Onna White •  
Avec:  

Commentaire:   

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Théâtre
Original

4) Bees on the Boatdeck (Original)

Joué durant  1 mois

Nb de représentations: 37 représentations
Première preview: Inconnu
Première: mar. 05 mai 1936
Dernière: sam. 06 juin 1936

Metteur en scène:  
Chorégraphe:  
Avec: Kay Hammond, Rene Ray, Raymond Huntley, Ralph Richardson, Laurence Oliver (Bob Patch) 

Commentaire:   

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Théâtre
Revival

3) Theatre Royal (Revival)

Joué durant  1 mois

Première preview: Inconnu
Première: mar. 23 octobre 1934
Dernière: ven. 23 novembre 1934

Metteur en scène: Noël Coward •  
Chorégraphe:  
Avec: Marie Tempest, Laurence Olivier (Anthony Cavendish) 

Commentaire: Du 1er au 20 octobre, le spectacle s'est joué à Glasgow, Edinburgh et Manchester  (plus) 

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Théâtre

2) Paris Bound ()

Joué durant  3 semaines

Nb de représentations: 31 représentations
Première preview: Inconnu
Première: mar. 30 avril 1929
Dernière: sam. 25 mai 1929

Metteur en scène:  
Chorégraphe:  
Avec: Herbert Marshall, Edna Best, Laurence Olivier (Richard Parish) 

Commentaire: Petite série avant le West End au Golders Green Hippodrome à Barnet, London (22–27 avril 1929)  (plus) 

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Musical
Original

1) Florodora (Original)

Joué durant  

Nb de représentations: 455 représentations
Première preview: jeu. 01 janvier 1970
Première: jeu. 01 janvier 1970
Dernière: Inconnu

Metteur en scène:  
Chorégraphe:  
Avec: Sydney Barraclough, Louis Bradfield, Kate Cutler, Evie Greene, Ada Reeve, Florence St. John, Joe Belmont, Byran G. Harlan, Frank C. Stanley, May Leslie Stuart 

Commentaire: The premiere at London’s Lyric Theatre in November 1899 and was an enormous success, running for 455 performances. The Broadway production a year later was an even bigger success, running 553 performances. The song “Tell Me Pretty Maiden” was a worldwide success, and led to one of the earliest examples of musical theatre merchandise, with all manner of souvenirs of the show being manufactured.  (plus) 

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