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Palace Theatre
Londres
Angleterre

Construction: 1891
Topologie du théâtre
Nombre de salles actives: 1
Salle 1: (1390)    1891 - Actif
Accès
En métro: Leicester Square (Piccadilly/ Northern lines)/ Tottenham Court Road (Northern/ Central lines)/ Leicester Square
En bus: 14, 19, 22, 24, 38, 40, 176
Adresse: 109-113 Shaftesbury Avenue, London, W1D 5AY
Evolution
Bâtiment: 1891. Designed primarily by Thomas Collcutt for Richard D’Oyly Carte; opened on 31 January as the Royal English Opera House / 1892. Sold to Sir Arthur Harris and renamed Palace Theatre of Varieties / 1908. Amphitheatre remodelled by F. Emblin-Walker / 1911. Renamed Palace Theatre / Statutorily Listed Historic Building: Grade II*
Nom:
Propriétaire(s):


Remarquable:
Exterior of Elllstown brickwork and delicate buff terracotta / Interior as an all-embracing concept and use of materials, from Imported Algerian and Italian marbles to William Morris carpets / Archaeological remnants of Iron-and-wood stage machinery designed and installed by Walter Dando
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(1390)    1891 - Actif

Annonce du cast principal de "Harry Potter and the Cursed Child" au Palace Theatre

 Londres (Angleterre)
 Palace Theatre  
 ** Hors DB Theatre  
 Publié le 21 déc. 2015
Le cast principal de la création de Hary Potter and the Cursed Child, qui ouvrira au Palace Theatre à Londres le 30 juillet 2016 (previews àpd 6 juin 2016): Jamie Parker, Noma Dumezweni et Paul Thornley.

Critique de "Derren Brown: The Miracle "

 Londres (Angleterre)
 Palace Theatre  
 ** Hors DB Spectacle  
 Publié le 15 nov. 2015
Les critiques sont excellentes:   

La presse est "moyenne-bonne" pour The Commitments

 Londres (Angleterre)
 Palace Theatre  
 Commitments (The)  
 Publié le 09 oct. 2013
Lyn Gardner for The Guardian / Charles Spencer for Daily Telegraph / Quentin Letts for The Daily Mail /Paul Taylor for The Independent / Henry Hitchings for The Evening Standard   

We shall never be privy to the thoughts of the Duke of Cambridge when he opened Charing Cross Road to the public for the first time in February 1887, but as he surveyed the poor quality of the new architecture he must have wondered at the almost unprecedented opportunities lost both here and In Shaftesbury Avenue. Cambridge Circus, named after the duke, was an attempt to create a unified whole, but carried out with little sense of the dramatic and with minimal design impact, mainly in red brick and dressed stone. It is to the buildings of the 18th and early 19th centuries in surrounding streets, such as Romllly Street and Greek Street, that one has to look for a superior quality In scale and design.
While the blocks of offices, chambers and shops were filling the sites along the new roads, Richard D’Oyly Carte was discussing with the Metropolitan Board of Works the acquisition of the prime irregular quadrilateral Island site on the west side of Cambridge Circus. Negotiations reached a conclusion, and on 15 December 1888 his second wife, Helen, laid the foundation stone of his new opera house.
D'Oyly Carte was born locally, in Greek Street, on 3 May 1844. After studying at University College, London, he worked with his father as a maker of musical Instruments for the army, until setting up as a concert agent In 1870. Eminently successful, he 'discovered' Gilbert and Sullivan, probably through their production of Thespis in 1871, and in 1875 produced their Trial By Jury at the Royalty Theatre. Success followed upon success, and profits soared to such heights that D’Oyly Carte was able to finance the building of the Savoy Theatre in 1881. An opera-loving speculator, he resolved to build a London theatre devoted to grand English opera, and the vacant plot on Cambridge Circus appeared to be the ideal site.
Architect J. G. Buckle was commissioned to advise on the original design concept, and his adventurous steel-framed cantilevering of the royal tier stalls, the first circle and the amphitheatre provided an Inspired skeletal form around which to build. Unusually, D'Oyly Carte dispensed with a contractor and took upon himself the supervision of
building works alongside G. H. Holloway, whose buildings already included the Savoy Hotel and the Hotel Metropole. It was not until the ground works were well advanced that another architect, T. E. Collcutt, was engaged to give architectural substance to the interior and exterior of the building.
Thomas Collcutt was born in Oxford in 1840 and educated at Mill Hill School. He was articled in London, and lived most of his life at Totteridge, Middlesex, in the beautiful Arts and Crafts-style house he designed overlooking the green. A Gothiclst at heart, Collcutt was forced to adapt to fluctuating taste, thus developing a hybrid Tudor-Renaissance style and winning, in 1886, the competition for the Imperial Institute in South Kensington. Not a specialist In theatre design, Collcutt saw the D’Oyly Carte commission purely as a piece of architecture, much as he would a small country house, or commercial building: a project to be given the profound consideration of an academic mind.
The exterior of the building is designed in a northern French Renaissance manner, In red brick and terracotta. The bricks are a dark red from the Elllstown Brickworks, an offshoot of the Leicestershire coal-mining Industry, and the delicately figured buff terracotta work was provided by the Lambeth firm of Doulton and Co. The slightly cbncave front to the building echoes the curve of the Circus, articulated by octagonal corbelled domed corner towers and turrets. After a century of attack from a fume- and grime-laden atmosphere, the terracotta has required fairly extensive repair and replacement. Attempts to clean the building in the latter decades of the 20th century regrettably resulted In some surface erosion caused by overenthusiastic sandblasting.
Although the theatre opened as the Royal English Opera House on 31 January 1891, design changes continued to be made up to 1893. Notwithstanding these minor hiccups, the interior is sumptuous: Algerian and Italian marbles were used not only on the grand staircase, but also In vestibules, saloons and even the auditorium. Painted wall decoration in green and gold, arabesques and allegorical figures served only to emphasize the accomplishment of the design. The carpets were designed by William Morris.
The care that D’Oyly Carte devoted to the public parts of his Royal English Opera House extended behind the proscenium arch, where he introduced a revolutionary flat stage. In 1887 he also employed Walter Dando, a stage engineer of genius, whose fame sprang from his work in the Paris theatre. As well as installing chariot and pole machinery on a French model, designed to combine stability with efficient and smooth movement of set-piece and ground-row scenery, Dando was aware of other aspects including the practical use of the stage revolve. Having lain idle for years his substantial sub¬stage machinery has survived against the odds. On its island site the theatre is always in desperate need of space, and that space, at least prior to purchase by Andrew Lloyd Webber, seemed to be under the stage. Dando remained at the theatre until 1896, when the world of early cinema beckoned.
D’Oyly Carte opened with Sir Arthur Sullivan’s Ivanhoe (1891) followed by Messager’s The Basoche (1892). The fact that he was unable to stage an English opera as his second presentation depressed him, and after a season starring Sarah Bernhardt in a series of French dramas, he sold the building to Augustus Harris, who renamed it the Palace Theatre of Varieties In 1892. D’Oyly Carte’s died on 3 April 1901 at Hastings, Sussex.
Since then, many great names have passed through the stage door, including Marie Tempest in 1906; Maud Allen as Salome in 1908; and the inimitable Pavlova in 1911, followed by Nijinsky in 1914. In 1921 Harry Lauder appeared for eight weeks in a variety bill and in 1933 Fred Astaire starred in Gay Divorcee. As the decades passed, in 1959 short seasons included vehicles for Johnnie Ray and Connie Francis, and in 1961 The Sound of Music opened here, followed by Cabaret (1968), Oklahoma! (1980) and, on 4 December 1985, Les Misérables.
In the 1950s, Emile Littler, the theatre’s owner, imposed upon the interior a naive, gung-ho decorative scheme which would seriously detract from its considerable architectural quality for over four decades. Without doubt this situation would have remained static had Andrew Lloyd Webber not Initiated with financiers Bridgeoint Capital in 2004 a sweeping restoration project which resulted in one of the most beautiful transformation scenes achieved In any British theatre.
‘The world's greatest artistes have passed and
will pass through these doors'
INSCRIBED IN THE LINTEL ABOVE THE STAGE DOOR

1891. Designed primarily by Thomas Collcutt for Richard D’Oyly Carte; opened on 31 January as the Royal English Opera House / 1892. Sold to Sir Arthur Harris and renamed Palace Theatre of Varieties / 1908. Amphitheatre remodelled by F. Emblin-Walker / 1911. Renamed Palace Theatre / Statutorily Listed Historic Building: Grade II*

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Infos complémentaires:

The stalls are divided into two blocks by a central aisle running the length of the section. Unlike the higher tiers the Stalls are not rounded and exist as a block, making sight lines on the whole to be effective. Better seats are towards the middle of the section about halfway back. The worst seats tend to be around the edges of the auditorium; in particular those within the first three rows, as the shape of the auditorium begins to fan out. Pillars feature towards the front of the section both house right and left at rows C, H and S and can cause restrictions.

The overhang begins to affect seats midway back from row M and is a significant problem in the final rows. Seat Plan would advise to sit further back in the Dress Circle for the same price than the rear stalls. Legroom is particularly tight in this section, as with the rest of the theatre. For maximum comfort select aisle seats and not those in the middle of rows. Boxes may also provide better legroom for taller audience members.

The Dress Circle feels relatively small and compact compared to other areas of the theatre. This section provides the best overall view, as it doesn't feel too high or far from the stage. The section is divided in half by a centre aisle, which again should be utilised for those wishing for extra legroom. The Dress Circle curves meaning the ends of rows A-C become restricted and should only be purchased if sold for a discounted rate. Row J acts as a ‘half row’ at the back of the section and should be avoided at all costs as they sit higher than any other seats in the section, reducing the view considerably.

Legroom in the front row is notoriously bad due to the curve of the balcony. No safety rails exist however apart from at the side of the stairwells, meaning that the view is exceptionally clear. The Upper Circle overhangs the back two thirds of the section, cutting off the top of the proscenium.

The Grand Circle again feels rather cosy, divided into two neat sections by a centre aisle. For optimum legroom choose those seats in the centre rather than the restricted view seats at the end of each row. Safety rails create restrictions around the ends of rows nearest to the stairs but do not restrict those sitting towards the centre. The rake is steep which allows you to see over the heads of the people in front, unless they lean to peer over the balcony at any action at the front of the stage or on the apron. The overhang creates a low ceiling at this level, beginning from the third row and affecting the view of those seats further back. Depending on the production missing the top of the proscenium may not be too much of a distraction.

This tier can feel extremely high and somewhat detached from the action. Because of the curve of the circle many restricted view seats are available on this level. For a bargain price many of these are worth taking, particularly those further back and closer to the centre.

The Balcony at the Palace is larger than both the Dress and Grand Circle. It is rumoured to even be one of the steepest balconies in the whole of the West End, which is clear to anyone sitting there looking almost vertically onto the stage. The Balcony is divided into three sections by two aisles, creating a large central block of seats. Each aisle seat has a metal rail running along up to the top of the section along with posts, which can restrict legroom.

Large double rails run the entire length of the balcony which reduces visibility significantly for a large section of the seats. These are hard to avoid in most areas and create blind spots that are hard to manoeuvre around. Towards the back of the section one feels extremely far away from the action, making it difficult to see set pieces and anything past the proscenium. Seat Plan would only recommend these seats to people wanting a serious bargain, and even then it can rarely be worth it.

Exterior of Elllstown brickwork and delicate buff terracotta / Interior as an all-embracing concept and use of materials, from Imported Algerian and Italian marbles to William Morris carpets / Archaeological remnants of Iron-and-wood stage machinery designed and installed by Walter Dando

Harry Potter and the Cursed Child, Part I
[07 juin 16 - Open end]
Harry Potter and the Cursed Child, Part II
[07 juin 16 - Open end]

Théâtre
Original

2) Harry Potter and the Cursed Child, Part I (Original)

Joué durant  4 ans actuellement

Première preview: mar. 07 juin 2016
Première: sam. 30 juillet 2016
Dernière: Open end

Metteur en scène: John Tiffany •  
Chorégraphe: Steven Hoggett •  
Avec:  

Commentaire: One play presented in two parts. Both parts are intended to be seen in order on the same day (matinee and evening), or on two consecutive evenings.
In December 2013, it was revealed that a stage play based on Harry Potter had been in development for around a year,[3] with the view to bringing it to the stage sometime in 2015. Created by J.K. Rowling, the Harry Potter series spans seven novels, selling more than 450 million copies, and was turned into an eight-part film series, which grossed more than £4.4 billion around the world. In addition, theme parks such as the Wizarding World of Harry Potter[6] and studio tours of the sets used in the films have opened based around the series. At the time of the announcement Rowling revealed that the play would “explore the previously untold story of Harry’s early years as an orphan and outcast”. In spring of the following year Rowling began establishing the creative team for the project.

Rowling stated shortly after the play's announcement that the piece would not be a prequel. In response to queries regarding the choice of a play rather than a new novel Rowling has stated that she “is confident that when audiences see the play they will agree that it is the only proper medium for the story”. Rowling has also assured audiences that the play will contain an entirely new story, and will not be a rehashing of previously explored content.

On 26 June 2015, the project was officially confirmed under the title of Harry Potter and the Cursed Child, and it was revealed it would receive its world premiere in the summer of 2016 at London's Palace Theatre. The announcement marked the eighteenth anniversary of the publication of the first Harry Potter novel, Harry Potter and the Philosopher's Stone, published on 26 June 1997. The play's official website was made available shortly after Rowling's announcement with a register for ticket pre-orders and biographies on the main creative team.  (plus) 

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Théâtre
Original

1) Harry Potter and the Cursed Child, Part II (Original)

Joué durant  4 ans actuellement

Première preview: mar. 07 juin 2016
Première: sam. 30 juillet 2016
Dernière: Open end

Metteur en scène: John Tiffany •  
Chorégraphe: Steven Hoggett •  
Avec:  

Commentaire: One play presented in two parts. Both parts are intended to be seen in order on the same day (matinee and evening), or on two consecutive evenings.
In December 2013, it was revealed that a stage play based on Harry Potter had been in development for around a year,[3] with the view to bringing it to the stage sometime in 2015. Created by J.K. Rowling, the Harry Potter series spans seven novels, selling more than 450 million copies, and was turned into an eight-part film series, which grossed more than £4.4 billion around the world. In addition, theme parks such as the Wizarding World of Harry Potter[6] and studio tours of the sets used in the films have opened based around the series. At the time of the announcement Rowling revealed that the play would “explore the previously untold story of Harry’s early years as an orphan and outcast”. In spring of the following year Rowling began establishing the creative team for the project.

Rowling stated shortly after the play's announcement that the piece would not be a prequel. In response to queries regarding the choice of a play rather than a new novel Rowling has stated that she “is confident that when audiences see the play they will agree that it is the only proper medium for the story”. Rowling has also assured audiences that the play will contain an entirely new story, and will not be a rehashing of previously explored content.

On 26 June 2015, the project was officially confirmed under the title of Harry Potter and the Cursed Child, and it was revealed it would receive its world premiere in the summer of 2016 at London's Palace Theatre. The announcement marked the eighteenth anniversary of the publication of the first Harry Potter novel, Harry Potter and the Philosopher's Stone, published on 26 June 1997. The play's official website was made available shortly after Rowling's announcement with a register for ticket pre-orders and biographies on the main creative team.  (plus) 

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Divertissement
Revival

29) Eddie Izzard: Force Majeure Reloaded (Revival)

Joué durant  3 semaines

Première preview: lun. 18 janvier 2016
Première: lun. 18 janvier 2016
Dernière: sam. 13 février 2016

Metteur en scène:  
Chorégraphe:  
Avec: Eddie Izzard 

Commentaire:   

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Spectacle

28) Derren Brown: Miracle ()

Joué durant  2 mois

Première preview: mer. 11 novembre 2015
Première: mar. 17 novembre 2015
Dernière: sam. 16 janvier 2016

Metteur en scène: Andy Nyman • Andrew O'Connor • Derren Brown •  
Chorégraphe:  
Avec: Derren Brown 

Commentaire:   

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Musical
Original

27) Commitments (The) (Original)

Joué durant  2 ans 3 semaines

Première preview: sam. 21 septembre 2013
Première: mar. 08 octobre 2013
Dernière: dim. 01 novembre 2015

Metteur en scène: Jamie Lloyd •  
Chorégraphe: Ann Yee •  
Avec: Denis Grindel (Jimmy Rabbitte), Killian Donnelly (Deco), Sarah O’Connor (Imelda), Stephanie McKeon (Natalie), Jessica Cervi (Bernie), Ben Fox (Joey ‘The Lips’), Mark Dugdale (Derek), Brian Gilligan (Billy), Andrew Linnie (Dean), Joe Woolmer (Mickah), Matthew Wycliffe (Outspan), Padraig Dooney (Ensemble) 

Commentaire:   

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Andrew Lloyd Webber vend le théâtre à Nimax Theatre

Andrew Lloyd Webber vend le Palace Theatre à Nimax Theatres. A ce sujet, Nica Burns et Max Weitzenhoffer, les propriétaires de Nimax Theatres déclarèrerent au sujet du Palace Theatre "We are honoured that Andrew Lloyd Webber has entrusted us with the guardianship of this iconic building with its extraordinary history and will cherish it as he does. We have longed to own a major musical house and it doesn't get much better than the Palace."


Musical
Revival

26) Singin' in the Rain (Revival)

Joué durant  1 an 3 mois 3 semaines

Première preview: sam. 04 février 2012
Première: mer. 15 février 2012
Dernière: sam. 08 juin 2013

Metteur en scène: Jonathan Church •  
Chorégraphe: Andrew Wright •  
Avec: Adam Cooper (Don Lockwood), Louise Bowden (Kathy Selden), Jennifer Ellison (Lina Lamont), Stephane Annelli (Cosmo Brown), Peter Forbes (RF Simpson), Sandra Dickinson (Dora Bailey/Miss Dinsmore), Gillian Parkhouse, Nancy Wei George, David Lucas, Mark Hadfield, Frankie Jenna, Karen Aspinall, Emma Caffrey, Matthew Croke, Brendan Cull, Adam Denman, Kelly Ewins-Prouse, Charlene Ford, Olivia Fines, Tim Hodges, Nia Jermin, Peter Le Brun, Matthew Malthouse, Adam Margilewski, Oliver Metzler, Joseph Prouse, Charlotte Scott, Zara Warren. 

Commentaire:   

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Musical
Original

25) Priscilla Queen of the Desert (Original)

Joué durant  2 ans 9 mois 1 semaine

Première preview: mar. 10 mars 2009
Première: lun. 23 mars 2009
Dernière: sam. 31 décembre 2011

Metteur en scène: Simon Phillips •  
Chorégraphe: Ross Coleman •  
Avec: Jason Donovan (Tick/Mitzi), Oliver Thornton (Adam/Felicia), Tony Sheldon (Bernadette), Clive Carter (Bob), Kanako Nakano (Cynthia), Zoe Birkett, Kate Gillespie, Emma Lindars, Wezley Sebastian, Amy Field, Steven Cleverley, Daniele Coombe, Tristan Temple, John Brannoch, Philip Arran, Matthew Cole 

Commentaire: The London production was a huge success, mostly welcomed as a joyful antidote to society’s lingering homophobia, and praised for its warm-heartedness, sheer exuberance, extravagance and completely over-the-top costumes and spectacle. The show ran the best part of three years, finally closing on New Year’s Eve, 2011. Cast changes during the run saw Ben Richards as Tick, Don Gallagher as Bernadette and Ray Meagher as Bob. The musical opened on Broadway in March 2011 with Will Swenson as Tick, Nick Adams as Adam, and Tony Sheldon repeating his role as Bernadette.  (plus) 

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Musical
Original London

24) Spamalot (Original London)   

Joué durant  2 ans 2 mois 2 semaines

Nb de représentations: 928 représentations
Première preview: sam. 30 septembre 2006
Première: lun. 16 octobre 2006
Dernière: sam. 03 janvier 2009

Metteur en scène: Mike Nichols •  
Chorégraphe: Casey Nicholaw •  
Avec: Tim Curry (King Arthur), Christopher Sieber (Sir Galahad), Tim Goodman-Hill (Sir Lancelot), Hannah Waddingham (Lady of the Lake), John Cleese (The Voice of God), Darren Southworth, David Birrell, Robert Hands, Tony Timberlake 

Commentaire: A stage version “lovingly ripped off from” the 1975 Monty Python film, it opened on Broadway in March 2005 and received an astonishing 14 Tony Award nominations, winning three, including the Best Musical Award. It ran for 1,574 performances, and took over $175 million at the box office, closing January 11th 2009.
The London production opened in October 2006, with Tim Curry and Christopher Sieber repeating their Broadway roles. During the London run cast replacements included Simon Russell Beale, Peter Davison, Marin Mazzie and Sanjeev Bhaskar. The muchpraised Hannah Waddingham was replaced by Nina Soderquist , the winner of a Swedish TV “Search for a Star” competition. The London production closed on January 3rd 2009 a week earlier than the Broadway version.  (plus) 

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Musical
Revival

23) Whistle down the wind (Revival)

Joué durant  4 mois 2 semaines

Première preview: mer. 15 mars 2006
Première: lun. 27 mars 2006
Dernière: sam. 12 août 2006

Metteur en scène: Bill Kenwright •  
Chorégraphe: Henry Metcalf •  
Avec: Tim Rodgers (The Man), Claire Marlowe (Swallow), Emma Hopkins / Henrietta Touquet (Brat), Laurence Belcher/Christopher Thomas (Poor Baby), Garrie Harvey (Amos), Debbie Korley (Candy), Chris Holland (Snake Preacher), Kevin Curtin (Sheriff), David Robbins (Minister), Michael Howard Smith (Boone) 

Commentaire: This revival was a kind of “fill-in” following the early withdrawal of “The Woman in White”. It was produced on a smaller-scale than the original (in spite of being in a much bigger theatre). This new production was felt to be far less pretentious, simpler, stronger and more heartfelt than the original.  (plus) 

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Musical
Original

22) Woman in White (The) (Original)

Joué durant  1 an 5 mois 1 semaine

Première preview: sam. 28 août 2004
Première: mer. 15 septembre 2004
Dernière: sam. 25 février 2006

Metteur en scène: Trevor Nunn •  
Chorégraphe: Wayne McGregor •  
Avec: Martin Crewes (Walter Hartwright), Angela Christian (Anne Catherick), Maria Friedman (Marian Halcombe), Jill Paice (Laura Fairlie), Edward Petherbridge (Mr Fairlie), Oliver Darley (Sir Percial Glyde), Michael Crawford (Count Fosco) 

Commentaire: The show opened to luke-warm reviews with much criticism of the set design - a series of projections said to be dizzying, out of focus, and out of synch with the revolve. After four months Michael Crawford collapsed (as a result of over-sweating in the fat suit he wore to play Count Fosco) and his understudy, Steve Vamom, took over for several weeks. From February to April 2005 the role of Count Fosco was then played by Michael Ball, in a radically new interpretation of the part. From April onwards Fosco was played by Anthony Andrews.
The “original” version of the show closed on July 9th, and two days later re-opened with many cast changes and a heavily re-written libretto and song-order. This “new” version previewed through the summer with the Press invited to review the show in September - at which point Simon Callow became the fifth actor to play Count Fosco. This time the critics were a little more enthusiastic and the projections and revolving effects were said to be much better. However, the show closed on February 25th 2006 after a 19 month run and its 500th performance.  (plus) 

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Musical
Original

21) Misérables (Les) (Original)

Joué durant  18 ans 3 mois 4 semaines

Première preview: Inconnu
Première: mer. 04 décembre 1985
Dernière: sam. 27 mars 2004

Metteur en scène: Trevor Nunn • John Caird •  
Chorégraphe: Kate Flatt •  
Avec:  

Commentaire:   

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Musical
Revival

20) On your toes (Revival)

Joué durant  1 an 3 mois 1 semaine

Nb de représentations: 539 représentations
Première preview: mar. 12 juin 1984
Première: mar. 12 juin 1984
Dernière: sam. 21 septembre 1985

Metteur en scène: George Abbott •  
Chorégraphe: George Balanchine •  
Avec: Natalia Markarova (Vera Baronova), Tim Flavin (Junior), Siobhan McCarthy (Frankie), Kevin Owers (Sidney Cohn), Honor Blackman (Peggy Porterfield), John Bennett (Sergei), Nicholas Johnson (Konstantine Morrosine), Doreen Hermitage, Bunny May, Petra Siniawski 

Commentaire: The original Broadway production (1936) and the London production (February 5th 1937 at the Coliseum) were both directed by George Abbott. The show was revived on Broadway in 1983 with Natalia Makarova - again directed by George Abbott - and once more he came to London to supervise this production. Not only was it some kind of record to be reviving his own work after a 47 year gap, but at the time of this show he was an astonishing 97 years old—and definitely the oldest working director in musical theatre. (He died in 1995, a few months before his 108th birthday.)  (plus) 

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Musical
Original

19) Song and Dance (Original)

Joué durant  1 an 11 mois 4 semaines

Nb de représentations: 781 représentations
Première preview: ven. 26 mars 1982
Première: mer. 07 avril 1982
Dernière: sam. 31 mars 1984

Metteur en scène: John Caird •  
Chorégraphe: Anthony Van Laast •  
Avec: Marti Webb & Wayne Sleep
with Linda-Mae Brewer, Jane Darling, Andrea Durant, Linda Gibbs, Claude-Paul Henry, Andy Norman, Sandy Strallen, Paul Tomkinson 

Commentaire: This was a show in two parts. The “song” half was a song-cycle called “Tell Me on a Sunday” - a simple tale of a young English woman in New York and the trials and tribulations she experiences through a series of unhappy love affairs. This was performed by Marti Webb. The second half was called “Variations”, a suite of variations on a theme by Paganini, and was interpreted in dance by Wayne Sleep and a team of eight dancers. (During the long run the Marti Webb role was taken over by Gemma Craven, Lulu and Liz Robertson. Wayne Sleep’s role was later danced by Stephen Jeffries, Graham Fletcher, John Meehan and Paul Tomkinson)  (plus) 

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Musical
Original

18) Tell me on A Sunday (Original)

Joué durant  1 an 11 mois 4 semaines

Nb de représentations: 781 représentations
Première preview: ven. 26 mars 1982
Première: mer. 07 avril 1982
Dernière: sam. 31 mars 1984

Metteur en scène: Richard Jr Maltby •  
Chorégraphe:  
Avec:  

Commentaire:   

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Musical
Revival

17) Oklahoma! (Revival)

Joué durant  1 an

Première preview: Inconnu
Première: mer. 17 septembre 1980
Dernière: sam. 19 septembre 1981

Metteur en scène: James Hammerstein •  
Chorégraphe: Agnès de Mille •  
Avec: Madge Ryan (Aunt Eller), John Diedrich (Curly), Rosamund Shelley (Laurey), Mark White ( Will Parker), Jillian Mack (Ado Annie), Alfred Molina (JudFry) 

Commentaire: The original London production was at the Theatre Royal, Drury Lane on April 29th 1947 and ran for 1,548 performances. With its cornfields and cattle anches, farmers and cowboys, it was a glorified and vivid depiction of rural America, borrowing from country music, vaudeville and the language of the frontier. It was a folk-musical, and revolutionary in many respects. Along with “Showboat” in 1927, “Oklahoma” is regarded as a turning point in the history of musical theatre.  (plus) 

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Musical
Original London

16) Jesus-Christ Superstar (Original London)

Joué durant  

Nb de représentations: 3358 représentations
Première preview: mer. 09 août 1972
Première: mer. 09 août 1972
Dernière: Inconnu

Metteur en scène: Jim Sharman •  
Chorégraphe:  
Avec:  

Commentaire:   

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Musical
Original London

15) Cabaret (Original London)

Joué durant  

Nb de représentations: 336 représentations
Première preview: Inconnu
Première: lun. 26 février 1968
Dernière: Inconnu

Metteur en scène: Harold Prince •  
Chorégraphe:  
Avec:  

Commentaire:   

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Musical
Revival

14) Desert Song (The) (Revival)

Joué durant  

Première preview: sam. 13 mai 1967
Première: sam. 13 mai 1967
Dernière: Inconnu

Metteur en scène: ???? ???? •  
Chorégraphe: ???? ???? •  
Avec: Sid El Kar … Dermod Gloster
Hadji … J. Colin Dudley
Neri … Rae Armond
Benjamin Kidd … Tony Hughes
Captain Paul Fontaine … Raymond Duparc
Margot Bonvalet … Patricia Michael
General Birabeau … Martin Carroll
Pierre Birabeau … John Hanson
Susan … Doreen Kay
Edith … Joanna Young
Azuri … Lita Scott
Ali Ben Ali … George Hancock
Clementina … Carol Dorée
Mindar … Arnold Chazen
Hassi … Victor Flattery
Lieutenant La Vergne … Chris Robson
Sergeant De Boussac … Robert Crane 

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Musical
Original London

13) 110 in the shade (Original London)

Joué durant  

Nb de représentations: 101 représentations
Première preview: mer. 08 février 1967
Première: mer. 08 février 1967
Dernière: Inconnu

Metteur en scène: Emilie Littler •  
Chorégraphe: ???? ???? •  
Avec:  

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Musical
Original London

12) Sound of Music (The) (Original London)

Joué durant  

Nb de représentations: 2385 représentations
Première preview: jeu. 18 mai 1961
Première: jeu. 18 mai 1961
Dernière: Inconnu

Metteur en scène: Jerome Whyte •  
Chorégraphe: Joe Layton •  
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Musical
Original London

11) Where's Charley? (Original London)

Joué durant  

Nb de représentations: 404 représentations
Première preview: jeu. 20 février 1958
Première: jeu. 20 février 1958
Dernière: Inconnu

Metteur en scène: William Chappell •  
Chorégraphe:  
Avec: Norman Wisdom (Charley Wykeham), Pip Hinton (Amy Spettigue), Terence Cooper (Jack Chesney), Pamela Gale (Kitty Verdun), Jerry Desmonde (Sir Francis Chesney), Felix Felton (Mr. Spettigue) 

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Théâtre
West End Transfer

10) Entertainer (The) (West End Transfer)

Joué durant  4 mois 1 semaine

Nb de représentations: 116 représentations
Première preview: Inconnu
Première: mar. 10 septembre 1957
Dernière: ven. 10 janvier 1958

Metteur en scène: Tony Richardson •  
Chorégraphe:  
Avec: George Relph (Billy), Dorothy Tutin (replaced by Joan Plowright when the play moved to the West End) (Jean), Brenda De Banzie (Phoebe), Laurence Olivier (Archie), Richard Pasco (Frank), Vivienne Drummond (Gorgeous Gladys), Aubrey Dexter (Brother Bill), Stanley Meadows (Graham) 

Commentaire: "The Entertainer" a été une véritable relance de la carrière exceptionnelle de Laurence Olivier.
En septembre 1957, le spectacle sera transféré au Palace Theatre dans le West End, puis partira en tournée avant de revenir au Palace Theatre. Et de partir à Broadway.  (plus) 

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Musical
Original London

9) Finian's Rainbow (Original London)

Joué durant  

Première preview: mar. 21 octobre 1947
Première: mar. 21 octobre 1947
Dernière: Inconnu

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Opérette
Revival

8) Fledermaus (Die) (Revival)

Joué durant  

Nb de représentations: 412 représentations
Première preview: jeu. 08 mars 1945
Première: jeu. 08 mars 1945
Dernière: Inconnu

Metteur en scène: Bernard Delfont • Leontine Sagan •  
Chorégraphe: Wendy Toye •  
Avec: Cyril Ritchard (Baron von Eisenstein), Ruth Naylor (Rosalinda), Peter Graves (Orlofsky), Bernard Clifton (Dr Falke), James Etherington (Alfred), Jay Laurier (Frosch) 

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Musical
Revival

7) Chu Chin Chow (Revival)

Joué durant  4 mois

Nb de représentations: 158 représentations
Première preview: mar. 22 juillet 1941
Première: mar. 22 juillet 1941
Dernière: sam. 22 novembre 1941

Metteur en scène: Nigel Ferguson •  
Chorégraphe: Michael Martin-Harvey • Katya Burina •  
Avec: Peter Bennett, Kay Bourne, Marjorie Brown, Rosalinde Fuller, Jill Hands, Lyn Harding, Mr Jetsam, Katie Kemp, Noel Leyland, Henry Luscombe, Michael Martin-Harvey, Raymond Rollett, Jerry Verno, Dorothy Vernon, Albert Ward, Edith Woods 

Commentaire: This revival at the Palace Theatre in July 1940 was withdrawn two months later because of the Blitz. It returned in July the following year and played till November.  (plus) 

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Musical
Revival

6) Chu Chin Chow (Revival)

Joué durant  2 mois 1 semaine

Nb de représentations: 80 représentations
Première preview: mer. 03 juillet 1940
Première: mer. 03 juillet 1940
Dernière: mar. 10 septembre 1940

Metteur en scène: Nigel Ferguson •  
Chorégraphe: Michael Martin-Harvey • Katya Burina •  
Avec: Lyn Harding (Hasan), Rosalinde Fuller (Zahrat), Jerry Verno (Ali), Lev Bario, Peter Bennett, Kay Bourne, Marjorie Brown, Bruce Dargavel, Sydney Fairbrother, Clement Hamelin, Jill Hands, Katie Kemp, Tom Kinniburgh, Dennis Noble, Raymond Rollett, Hugh Thurston, Dorothy Vernon 

Commentaire: This revival at the Palace Theatre in July 1940 was withdrawn two months later because of the Blitz. It returned in July the following year and played till November.  (plus) 

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Musical
Original London

5) Anything goes (Original London)

Joué durant  

Nb de représentations: 261 représentations
Première preview: Inconnu
Première: ven. 14 juin 1935
Dernière: Inconnu

Metteur en scène: Howard Lindsay •  
Chorégraphe: Robert Alton •  
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Musical
Original

4) Virginia (Original)

Joué durant  6 mois 2 semaines

Nb de représentations: 227 représentations
Première preview: mer. 24 octobre 1928
Première: mer. 24 octobre 1928
Dernière: sam. 11 mai 1929

Metteur en scène: William Mollison •  
Chorégraphe:  
Avec: Avec: Emma Haig (Virginia), John Kirby (Silas J. Hock), Harold French (Lord Hampton), Marjorie Gordon (Lady Hampton), George Gee (Nicholas Ninnijohn), Ernest Trimingham (Sambo), Cora La Redd (Lizzie), Jimmie Fergusson (Caesar), Walter Richardson (Uncle New) 

Commentaire: The pre-West End tour played two weeks each at Cardiff and Southsea, and then moved straight into the Palace. During its month on the road there had been considerable re-writing and cast-changes, but it opened to good notices in spite of a number of suggestions that it was an obvious attempt to cash in on the success of “Showboat”. “Virginia” offered a similar mix of cotton field scenery, humming negroes, and the hit song “Roll Away Clouds” was sung by Walter Richardson (“another negro baritone to reach these shores” –Stage)  (plus) 

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Musical
Original London

3) Girl Friend (The) (Original London)

Joué durant  

Nb de représentations: 421 représentations
Première preview: Inconnu
Première: jeu. 08 septembre 1927
Dernière: Inconnu

Metteur en scène:  
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Musical
Original

2) No, No, Nanette (Original)

Joué durant  

Nb de représentations: 665 représentations
Première preview: Inconnu
Première: mer. 11 mars 1925
Dernière: Inconnu

Metteur en scène: ???? ???? •  
Chorégraphe: ???? ???? •  
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Musical
Original

1) Flower drum song (Original)

Joué durant  

Nb de représentations: 464 représentations
Première preview: Inconnu
Première: Inconnu
Dernière: Inconnu

Metteur en scène:  
Chorégraphe:  
Avec:  

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