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Phoenix Theatre
Londres
Angleterre

Construction: 1930
Topologie du théâtre
Nombre de salles actives: 1
Salle 1: (1020)    1930 - Actif
Accès
En métro: Leicester Square/Tottenham Court Road
En bus: 19, 22, 24, 38, 40, 176
Adresse: Charing Cross Road, London, WC2H 0JP
Evolution
Bâtiment: 1930. Designed for Sidney Lewis Bernstein by Bertie Crewe, Cecil Masey, Theodore Komissarjevsky and Sir Giles Gilbert Scott / Statutorily Listed Historic Building: Grade II.
Nom:
Propriétaire(s):
Ambassador Theatre Group

Remarquable:
Interior by Theodore Komissarjevsky, his first theatre design / Painted panels and safety curtain by Vladimir Polunin / Collection of cartoons housed in stalls bar.
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(1020)    1930 - Actif

La période de réservation de "Bend It Like Beckham " au Phoenix étendue

 Londres (Angleterre)
 Phoenix Theatre  
 Bend it like Beckham  
 Publié le 10 déc. 2015
La réservation est étendue de 2 semaines jusqu'au 5 mars 2016

Reprise de rôle: Jamie Muscato dans "Bend It Like Beckham "

 Londres (Angleterre)
 Phoenix Theatre  
 Bend it like Beckham  
 Publié le 03 déc. 2015
Jamie Muscato va rejoindre le cast de Bend It Like Beckham qui se joue actuellement au Phoenix Theatre. Muscato remplacera Jamie Campbell Bower dansle rôle du coach 'Joe', commençant ses représentations le 14 décembre 2016.

Some hundred yards north of Cambridge Circus, and on the line of the west boundary wall to the former medieval Hospital of St Giles, the stuccoed entrance to the Phoenix Theatre blends with its conjoined neighbour, an unprepossessing six-storey block of offices above shops, as it curves into the narrow confines of Flltcroft Street, where the Elms Lester scene-painting workshop of 1903-4 is a rare survival of Its kind. Opposite the entrance in Charing Cross Road is the Central St Martin's College of Art and Design (1939) and an interesting former pub, the Tam O'Shanter (1876), while between the two is the remnant of what appears to be a small early cinema.
Like so many others, the theatre was built on land formerly occupied by run-down properties; In this case including a corner pub, but in particular the Alcazar, a ‘music hall' of rather dubious moral character. That name is now perpetuated in a block of flats close by in Phoenix Street, which forms the southern boundary to the theatre. Also in Phoenix Street is the present main theatre entrance, whose classical style contrasts markedly with the Art Deco of the Charing Cross fagade. Formerly linked to the now demolished Curzort Cinema, the front is dominated by its wide central Portland-stone bay, which features twisted Ionic columns under a richly decorated entablature and modllllon cornice above three pairs of enriched doors. To either side are single-window wide brick bays.
In the late 1920s Sidney Lewis Bernstein, later Lord Bernstein, assembled a unique quartet of archltect-deslgners to create his theatre on lands owned by the Brinkman Estate. Bertie Crewe, who had designed the Metropole, Birmingham, as early as 1885, was joined by Cecil Masey, whose Empire In Edmonton, north London, was under construction in 1908. While Crewe was nearing the end of his working life in 1930, Masey would collaborate with Theodore Komissarjevsky to produce super-cinemas for Bernstein through the following decade, including the masterpiece of the Granada Cinema, Tooting, and such minor classics as the Granada, Harrow Weald, Middlesex (both 1937). Komissarjevsky was bom In Venice of Russian parents and trained in architecture. He came to England in 1919 aged 27, making an indelible impression on English theatre with exceptional productions in his converted cinema at Barnes in West London. The fourth member of the team, Sir Giles Gilbert Scott, is harder to place in this company; since 1903 he had been deeply involved with the building of the great Anglican Cathedral in Liverpool, with Ampleforth Abbey and College, Yorkshire also on his drawing board. In 1947, aged 67, he began work on Bankslde Power Station, now the Tate Modern Gallery, close to Shakespeare’s Globe.
Contrasting entrances lead through to contrasting foyers. Behind the Charing Cross Road frontage is a very pretty circular domed enclosure decorated In shades of blue and cream, accessed by two pairs of enriched doors glazed with 14 bevelled lights. Entering from Phoenix Street, one sees richly coloured coffering and grotesque scrollwork dominating a marble staircase adorned with decorative detail in an 18th-century style. Rich decoration extends throughout the building. For his first theatre design Komlssarjevsky chose a loose but masterly Italian Renaissance style, with nine painted panels in the auditorium and a superb painted safety curtain by
Vladimir Polunln. The attractive circular Inner stalls vestibule Is enhanced by an elaborate mirrored ceiling, and a visit to the plushy Phoenix Stalls Bar will be rewarded by a small but exceptional collection of cartoons from the likes of Bill Tidy, David Langdon and Quentin Blake, lampooning the Phoenix.
The blue, pink and gold colour scheme of the opening night Is perpetuated in spirit, enlivened by in- house decoration repeating exactly the previous colour scheme - thus sidestepping the need to make application to the local council and to English Heritage for listed building consent, which would probably be required on the grounds that any deviation from the existing colours could be interpreted as changing the character of the building.
Since its opening production of Noël Coward’s comedy Private Lives on 24 September 1930, the theatre has seen many successes, ranging from Late Night Final (1931) to Dancing at Lughnasa starring Alec McCowen (1991). Willy Russell's Blood Brothers has been running here non-stop since 1991.

1930. Designed for Sidney Lewis Bernstein by Bertie Crewe, Cecil Masey, Theodore Komissarjevsky and Sir Giles Gilbert Scott / Statutorily Listed Historic Building: Grade II.

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Infos complémentaires:

The Stalls are divided into two blocks with a central aisle running the full length of the auditorium. Due to the angle of the set, seating is best towards the centre, although seats on the end of rows are not as bad as in other venues. The show itself is intimate and many prefer to be closer to the action to feel more involved. Sitting in the front section does not require too much neck craning, and nothing is missed on-stage due to the significant rake. For those who like to see the live band in action, sitting closer to the front and to the sides allows views through the set up to the band who perform hidden from the audience.

Most seats in this section offer an excellent view of the stage, although the ends of the rows are not as good as the centre, which is to be expected. Rows A and B can be obstructed by the safety rail, and so it may be wise to sit a couple of rows further back to avoid this altogether. Leg room is tight especially in row A, so if you are taller you may prefer sitting in the stalls.The final rows are affected by the overhang of the Upper Circle, although for this show it does not mean you are missing out on too much of the action. Sight lines are again enhanced by the stage rake and the action never feels too far away.

The Upper Circle is similar in quality to the Dress Circle, and has a similar amount of seats. Divided once again by a centre aisle the first few rows feel relatively close to the stage and can be intimate. A rail once again obstructs the view in the front two rows, but this can be overcome by tactful sitting. It can get rather hot at this level during the summer as the theatre does not have air-conditioning. Due to the shape of the theatre the ends of each row are restricted and are not as good value as those towards the centre.

Interior by Theodore Komissarjevsky, his first theatre design / Painted panels and safety curtain by Vladimir Polunin / Collection of cartoons housed in stalls bar.

Come from Away
[30 janv. 19 - Open end]

Musical
Original London

1) Come from Away (Original London)

Joué durant  1 an 3 mois actuellement

Première preview: mer. 30 janvier 2019
Première: lun. 18 février 2019
Dernière: Open end

Metteur en scène: Christopher Ashley •  
Chorégraphe:  
Avec: Rachel Tucker, David Thaxton, Jenna Boyd, Nathanael Campbell, Clive Carter, Mary Doherty, Robert Hands, Helen Hobson, Jonathan Andrew Hume, Harry Morrison, Emma Salvo, Cat Simmons with Mark Dugdale, Bob Harms, Kiara Jay, Kirsty Malpass, Tania Mathurin, Alexander McMorran, Brandon Lee Sears and Jennifer Tierney. 

Commentaire: The show transferred to London’s Phoenix Theatre in early 2019, following a short run in Dublin at the end of 2018.  (plus) 

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Musical
Revival

24) Chicago (Revival)

Joué durant  8 mois 4 semaines

Première preview: lun. 26 mars 2018
Première: mer. 11 avril 2018
Dernière: sam. 05 janvier 2019

Metteur en scène:  
Chorégraphe:  
Avec: Cuba Gooding Jr (Billy Flynn), Sarah Soetaert (Roxie), Josefina Gabrielle (Velma), Ruthie Henshall (Mama Morton), Paul Rider (Amos Hart), Alan Richardson, Michelle Antrobus, Natalie Bennyworth, Nicola Coates, Frances Dee, Zoe Gappy, Emma Harris, Chelsea Labadini, Joanna Rennie, Abramo Ciullo, Francis Foreman, Luke Jarvis, Matt Krzan, Charles Ruhrmund, Todd Talbot, Callum Macdonald, Chris Warner Drake, Matthew Wesley. 

Commentaire: After a hugely successful tours across the UK and internationally, smash-hit American musical Chicago returns to the London stage, starring Academy Award-winning actor Cuba Gooding Jr as Billy Flynn. Last seen at the Garrick Theatre in 2012, the production returns to the Phoenix Theatre in March 2018, celebrating its 21st anniversary as the longest-running musical on Broadway.  (plus) 

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Théâtre
Original London

23) Exorcist (The) (Original London)

Joué durant  4 mois 3 semaines

Première preview: ven. 20 octobre 2017
Première: ven. 20 octobre 2017
Dernière: sam. 10 mars 2018

Metteur en scène: Sean Mathias •  
Chorégraphe:  
Avec:  

Commentaire: Following its UK premiere in Birmingham, this terrifying stage adaptation of William Peter Blatty’s story The Exorcist comes to London, running at the Phoenix Theatre from October.  (plus) 

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Musical
Revival

22) Evita (Revival)

Joué durant  2 mois 1 semaine

Première preview: ven. 28 juillet 2017
Première: mer. 02 août 2017
Dernière: sam. 14 octobre 2017

Metteur en scène: Bill Kenwright • Bob Tomson •  
Chorégraphe: Bill Deamer •  
Avec: Emma Hatton (Eva Perón), Gian Marco Schiaretti (Che), Oscar Balmaseda, Sarah O’Connor, George Arvidson, Lewis Barnshaw, Jessica Ellen, Callum Fitzgerald, Kellie Gnauck, Dominic Adam Griffin, Joe McCourt, Jude Neill, Jordan Oliver, Chrissie Perkins, Oliver Slade, Matias Stegmann and Yuval Zoref 

Commentaire:   

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Musical
Original

21) Girls (The) (Original)

Joué durant  4 mois 3 semaines

Première preview: sam. 28 janvier 2017
Première: mar. 21 février 2017
Dernière: sam. 15 juillet 2017

Metteur en scène: Tim Firth •  
Chorégraphe: Lizzi Gee •  
Avec: Debbie Chazen (Ruth), Sophie-Louse Dann (Celia), Michele Dotrice (Jessie), Claire Machin (Cora), Claire Moore (Chris), Joanna Riding (Annie), Joe Caffrey (Rod), Jeremy Clyde (Denis), John Davitt (Doctor), Soo Drouet (Brenda), James Gaddas (John), Jenny Gayner (Miss Wilson (coffee)), Steve Giles (Lawrence), Maxwell Hutcheon (Colin), Shirley Jameson (Miss Wilson (tea)), Marian McLoughlin (Marie), Judith Street (Lady Cravenshire) and Jane Lambert, Rebecca Lewis, Victoria Blackburn, Frazer Hadfield, Josh Benson (Tommo), Ben Hunter (Danny) and Chloe May Jackson (Jenny). 

Commentaire: The show premiered in November 2015 at the Leeds Grand Theatre, and also played the Lowry in Salford Quays in January 2016, both productions acting as tryouts for an intended West End run.  (plus) 

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Musical
Revival

20) Dirty Dancing (Revival)

Joué durant  3 semaines

Première preview: mar. 06 décembre 2016
Première: jeu. 08 décembre 2016
Dernière: sam. 31 décembre 2016

Metteur en scène: Federico Bellone •  
Chorégraphe: Gillian Bruce •  
Avec: Lewis Griffiths (Johnny Castle) Katie Hartland (Baby Houseman) Carlie Milner (Penny Johnson), Simone Craddock (Marjorie Houseman), Roger Martin (Max Kellerman), Jo Servi as (Tito Suarez), Lizzie Ottley (Lisa Houseman), Michael Kent (Billy Kostecki), Greg Fossard (Neil Kellerman), Tony Stansfield (Mr Schumacher), and Daniela Pobega (Elizabeth), and Camilla Rowland (Vivian). Also joining the company are Gabby Antrobus, Simon Campbell, Robert Colvin, Michael Cookson, Katie Eccles, Beth Highsted, Matthew James Hinchliff, Samuel John Humphreys, Megan Louch, Ashley Rumble, Callum Sterling, Austin Wilks and Karl James Wilson, who is the Alternate 'Johnny Castle'. 

Commentaire: Il s'agit d'une nouvelle production arrivant à Londres après un UK-Tour  (plus) 

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Danse
West End Transfer

19) Last Tango (The) (West End Transfer)

Joué durant  2 mois

Première preview: jeu. 22 septembre 2016
Première: mer. 28 septembre 2016
Dernière: sam. 03 décembre 2016

Metteur en scène: Karen Bruce •  
Chorégraphe: Karen Bruce •  
Avec: Vincent Simone et Flavia Cacace 

Commentaire:   

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Musical
West End Transfer

18) Guys and Dolls (West End Transfer)

Joué durant  5 mois

Première preview: sam. 19 mars 2016
Première: sam. 19 mars 2016
Dernière: dim. 21 août 2016

Metteur en scène: Gordon Greenberg •  
Chorégraphe: Andrew Wright • Carlos Acosta •  
Avec: Samantha Spiro (Miss Adelaide), Richard Kind (Nathan Detroit), Oliver Tompsett (Sky Masterson), Siubhan Harrison (Sarah Brown), Gavin Spokes (Nicely Nicely Johnson), Billy Boyle (Arvide), Jason Pennycooke (Benny), Lucy Jane Adcock, Abigail Brodie, Cornelius Clarke, Momar Diagne, Lavinia Fitzpatrick, Lorna Gale, Nic Greenshields, Selina Hamilton, Frankie Jenna, Alec Mann, Jacob Maynard, Genevieve Nicole, William Oxborrow, Max Parker, Carl Patrick, James Revell, Giovanni Spano, Jonathan Stewart, Lucie Mae Sumner and Liam Wrate 

Commentaire: Version du Chichester Festival. Transférée dans le West End au Savoy Theatre puis prolongé, ici, au Phoenix Theatre. Mais il a été écourté au Phoenix…  (plus) 

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Musical
Original

17) Bend it like Beckham (Original)

Joué durant  8 mois 2 semaines

Première preview: ven. 15 mai 2015
Première: mer. 24 juin 2015
Dernière: sam. 05 mars 2016

Metteur en scène: Gurinder Chadha •  
Chorégraphe: Aletta Collins •  
Avec: Natalie Dew (Jess), Lauren Samuels (Jules), Jamie Campbell Bower (Joe), Sophie-Louise Dan (Paula), Jamal Andreas (Tony), Preeya Kalidas (Pinky), Tony Jayawardena (Mr Bhamra), Natasha Jayetileke (Mrs Bhamra), Sohm Kapila, Buckso Dhillon-Woolley, Harveen Mann (Aunties), Irvine Iqbal, Karl Seth (Uncles), Sejal Keshwala, Serina Mathew, Sharan Phull (Cousins), Rakesh Boury, Jorell Coiffic-Kamall, Tom Millen, Daniel Bolton (Footballers), Raj Bajaj (Teetu), Michelle Bishop, Lisa Bridge, Chloe Chambers, Genesis Lynea, Kirstie Skivington and Danielle Young (The Harriers), Rekha Sawhney, Shahid Khan (Indian Heritage Singers), Kayleigh McKnight (Swing). 

Commentaire:   

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Musical
Original London

16) Once (Original London)

Joué durant  1 an 11 mois 2 semaines

Première preview: sam. 16 mars 2013
Première: mar. 09 avril 2013
Dernière: sam. 21 mars 2015

Metteur en scène: John Tiffany •  
Chorégraphe: Steven Hoggett •  
Avec: Declan Bennett (Guy), Zrinka Cvitesic (Girl), Valda Aviks (Baruska), Ryan Fletcher (Svec), Aidan Kelly (Billy), Gareth O' Connor (Eamon), Michael O' Connor (Da) , Miria Parvin (Ex Girlfriend), Jos Slovick (Andre), Flora Spencer-Longhurst (Reza), Jez Unwin (Bank Manager), Gabriel Vick (Emcee). (Alternating the role of Girl's young daughter Ivanka will be Poppy-Lily Baker, Mia-Jai Bryan, Pacha Anna Green and Nancy Ann Jeans) 

Commentaire: In the musical, the cast also serves as the orchestra. A minimalist set is used, including a bar in center stage with chairs lining stage left and right. Exiting cast members simply step to the side of the stage and sit down. They serve as the orchestra from these chairs. The bar is used at intermission as a working bar for refreshments.  (plus) 

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Spectacle
Revival

15) Midnight Tango (Revival)

Joué durant  3 semaines

Première preview: mer. 30 janvier 2013
Première: mar. 05 février 2013
Dernière: sam. 02 mars 2013

Metteur en scène: Karen Bruce •  
Chorégraphe: Vincent Simone • Flavia Cacace •  
Avec: Vincent Simone and Flavia Cacace (stars of the BBC s Strictly Come Dancing). Live music will be provided by tango band, Tango Siempre, featuring vocalist Miguel Angel. Also starring Russell Grant (Carlos) 

Commentaire:   

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Théâtre
Revival

14) Goodnight Mister Tom (Revival)

Joué durant  2 mois

Première preview: jeu. 22 novembre 2012
Première: mar. 27 novembre 2012
Dernière: sam. 26 janvier 2013

Metteur en scène: Angus Jackson •  
Chorégraphe: Lizzi Gee •  
Avec: Oliver Ford Davies (Mister Tom), Louise Collins, Joanne Howarth, Aoife McMahon, Freya Parker , Georgina Sutton, Alan Vicary , Jonathan Warde , Emma Drysdale , Elisa de Grey , Bradley Hall, Osmund Bullock. (Six young performers have been cast in the roles of Zach and William. Arthur Gledhill Franks, Jamie Goldberg and Ewan Harris will alternate the role of William. Joseph Holgate, Thiago Los and William Price will alternate as Zach) 

Commentaire:   

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Musical
Revival

13) Blood Brothers (Revival)

Joué durant  20 ans 12 mois

Première preview: jeu. 21 novembre 1991
Première: jeu. 21 novembre 1991
Dernière: sam. 10 novembre 2012

Metteur en scène: Bill Kenwright • Bob Thomson •  
Chorégraphe: ???? ???? •  
Avec:  

Commentaire: Transféré de l'Albery Theatre (actuellement le Noel Coward Theatre)  (plus) 

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Musical
Original London

12) Into the woods (Original London)

Joué durant  5 mois

Nb de représentations: 197 représentations
Première preview: mar. 25 septembre 1990
Première: mar. 25 septembre 1990
Dernière: sam. 23 février 1991

Metteur en scène: Richard Jones •  
Chorégraphe: Anthony Van Laast •  
Avec: Nicholas Parsons (Narrator), Julia McKenzie (Witch), Richard Dempsey (Jack), Patsy Rowlands (Jack’s Mother), Ian Bartholomew (Baker), Imelda Staunton (Baker’s Wife), Jacqueline Dankworth (Cinderella), Mary Lincoln (Rapunzel), Tessa Burbridge (Red Riding Hood), Clive Carter (Cinderella’s Prince), Mark Tinkler (Rapunzel’s Prince), Eunice Gayson 

Commentaire: The original Broadway production ran for 764 performances in 1987 following a series of workshops and try-outs. The London production ran just five months, but won Olivier Awards for Best Director and Best Actress in a Musical (Imelda Staunton).  (plus) 

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Musical

11) Baker's wife ()

Joué durant  1 mois 1 semaine

Nb de représentations: 56 représentations
Première preview: lun. 27 novembre 1989
Première: lun. 27 novembre 1989
Dernière: sam. 06 janvier 1990

Metteur en scène: Trevor Nunn •  
Chorégraphe: David Toguri •  
Avec: Alun Armstrong (Aimable Castagnet), Sharon Lee Hill (Genevieve), Drue Williams (Dominic), James Villiers (Le Marquis), Jill Martin (Denise), George Raistrick (Claude) 

Commentaire: The show was heavily re-written for London, but closed fairly quickly even
though many critics thought it the very best of Stephen Schwartz’s work.  (plus) 

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Musical
Original

10) Are you lonesome tonight? (Original)

Joué durant  10 mois 3 semaines

Nb de représentations: 354 représentations
Première preview: Inconnu
Première: mar. 13 août 1985
Dernière: sam. 05 juillet 1986

Metteur en scène: Robin Lefevre •  
Chorégraphe:  
Avec: Martin Shaw (Elvis Presley), Simon Bowman (Young Elvis), Roger Booth (Colonel Tom Parker) , Michael Keating, Paul Ridley, Peter Marinker, Ray Jewers, Robert East, Colette Stevenson, Stacey Zuckerman. 

Commentaire: Simon Bowman’s re-creation of young Elvis at the peak of his professional life was much praised, and Martin Shaw’s portrayal of a legend in decay was similarly acclaimed. The writing and liberties taken with the real life-story were criticised, but the show itself was a great hit with the critics, and won the Evening Standard Best Musical of the Year award. The production originated at Liverpool Playhouse.  (plus) 

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Musical
Original

9) Peg (Original)

Joué durant  4 mois

Nb de représentations: 146 représentations
Première preview: Inconnu
Première: jeu. 12 avril 1984
Dernière: sam. 11 août 1984

Metteur en scène: Ian Judge •  
Chorégraphe: Sheila Falconer •  
Avec: Sian Phillips (Mrs Chichester), Edward Duke (Alaric Chichester), Patricia Michael (Ethel Chichester), Martin Smith (Sir Gerald Adair), Ann Morrison (Peg O’Connell),), Julia Sutton (Bennett), Liza Sadovy (Dora), Kim Smith , David McAlister, John Hewer. 

Commentaire: Based on the play “Peg O’ My Heart” by J. Hartley Manners, it was felt to be sugary sentiment and totally unbelievable. Critical reaction of the show was almost universally damning: “If the show had never opened a large number of people would have been spared the misery of having to work on it, and a small number of people would have been spared the misery of having to sit through it.”  (plus) 

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Musical
Original London

8) One Mo' Time (Original London)

Joué durant  7 mois 3 semaines

Première preview: Inconnu
Première: mar. 24 novembre 1981
Dernière: sam. 17 juillet 1982

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

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

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Musical
Original

7) Biograph Girl (The) (Original)

Joué durant  

Nb de représentations: 57 représentations
Première preview: Inconnu
Première: mer. 19 novembre 1980
Dernière: Inconnu

Metteur en scène: Victor Spinetti •  
Chorégraphe: Irvin Davies •  
Avec: Cast: Kate Revill (Lillian Gish), Sally Brelsford (Mary Pickford), Bruce Barry (D. W.Griffith), Richard Kates (J.C.Epping), Ron Berglas (Adolphe Zukor), Guy Siner (Mack Sennett) 

Commentaire: This opened at the Gardner Centre, Brighton and was devised as a small-scale show, inspired by Warner Brown’s rejected play “Flickers”. The opening night was attended by Lillian Gish herself and attracted enormous publicity. The critics felt the show hovered uneasily between parody and reverential salute, and in spite of a lot of praise for Heneker’s score, the show came off rather quickly.  (plus) 

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Musical
Original London

6) Parapluies de Cherbourg (Les) (Original London)   

Joué durant  

Nb de représentations: 12 représentations
Première preview: jeu. 10 avril 1980
Première: jeu. 10 avril 1980
Dernière: Inconnu

Metteur en scène: Andrei Serban •  
Chorégraphe:  
Avec: Susan Gene (Genevieve), Martin Smith (Guy) 

Commentaire: It was a kind of “bookless” musical, performed in a whole series of scenes with no dialogue. Thanks to some extraordinarily bold stage effects from designer Michael Yeargan and the lighting designer David Hersey, the show was presented as if seen “through a window running with a continuous drizzle and misted from inside with the breath of spectators, all reminded of their own first loves”. This was a kind of living Impressionism, “shimmering like a Renoir”. This was all much too arty and too unconventional for the usual West End audience. The show came off very quickly.  (plus) 

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Musical
Original

5) Kings and Clowns (Original)   

Joué durant  

Nb de représentations: 38 représentations
Première preview: Inconnu
Première: mer. 01 mars 1978
Dernière: Inconnu

Metteur en scène: Mel Shapiro •  
Chorégraphe: Gillian Gregory •  
Avec: Frank Finlay (Henry VIII), Elizabeth Counsell (Catherine of Aragon), Dilys Watling (Anne Boleyn), Maureen Scott (Jane Seymour), Anna Quale (Anne of Cleves), Colette Gleeson (Catherine Howard), Sally Mates (Catherine Parr), Michael Napier Brown, Michael Heath, Ray C. Davis 

Commentaire: In the words of Kurt Ganzl: “It starred the distinguished actor Frank Finlay as an unlikely King Henry at the centre of an anachronistic clutch of wives and a gaudy, tasteless production as he aged from sporty youth to slobbering elder among a bundle of feeble songs and some appalling dialogue. It was hard to believe this fiasco of tastelessness was the work of (Leslie Bricusse)”.

It was universally damned and closed after a month.  (plus) 

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Musical
Original

4) Canterbury Tales (Original)   

Joué durant  

Nb de représentations: 2080 représentations
Première preview: Inconnu
Première: jeu. 21 mars 1968
Dernière: Inconnu

Metteur en scène: Martin Starkie • Vlado Habunek •  
Chorégraphe: David Drew •  
Avec:  

Commentaire:   

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Théâtre
Original

3) Sleeping Prince (The) (Original)

Joué durant  8 mois

Nb de représentations: 274 représentations
Première preview: Inconnu
Première: jeu. 05 novembre 1953
Dernière: sam. 03 juillet 1954

Metteur en scène: Laurence Olivier •  
Chorégraphe:  
Avec: Vivien Leigh (Mary Morgan), Laurence Olivier (the Prince), Martita Hunt (the Grand Duchess), Jeremy Spenser (the King), Paul Hardwick (the Major Domo), Richard Wattis (the Gentleman in Attendance), and Rosamund Greenwood (the Countess) 

Commentaire: Précédé d'une série de représentation du 28 septembre au 24 octobre 1953 à Manchester, Glasgow, Edinburgh et Newcastle.
Ce fut un grand succès puisqu'ils ont joué ce spectacle pendant huit mois (274 représentations) au Phoenix Theatre mais ce spectacle n'a pourtant été considéré comme une contribution mineure à la saison, à côté d'autres productions dont Gielgud jouant dans Venise Preserv'd, Noël Coward dans The Apple Cart et Ashcroft et Redgrave dans Antony and Cleopatra. La pièce sera cependant adaptée au cinéma avec Marilyn Monroe.  (plus) 

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Théâtre
Revival

2) Skin of Our Teeth (The) (Revival)

Joué durant  

Première preview: Inconnu
Première: mer. 16 mai 1945
Dernière: Inconnu

Metteur en scène: Laurence Olivier •  
Chorégraphe:  
Avec: Vivien Leigh (Sabina), Cecil Parker (Mr. Antrobus), Joan Young (Mrs. Antrobus), Terence Morgan (the Antrobus son), and Ena Burrill (the Antrobus daughter). 

Commentaire: Peu de temps après l'ouverture au Phoenix Theatre, la pièce est partie en UK-Tour pour 4 semaines, avant une tournée européenne de 6 semaines.
Le spectacle est repris en septembre 1946 au Picadilly Theatre.
Elle sera jouée lors d'un Australian Tour en 1948 (en même temps que la tournée australienne de l'Old Vic Company).  (plus) 

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Théâtre
Original

1) Private lives (Original)

Joué durant  2 mois 3 semaines

Nb de représentations: 101 représentations
Première preview: Inconnu
Première: mer. 24 septembre 1930
Dernière: sam. 20 décembre 1930

Metteur en scène: Noël Coward •  
Chorégraphe:  
Avec: Noël Coward (Elyot), Adrianne Allen (Sybil), Gertrude Lawrence (Amanda), Laurence Olivier (Victor) 

Commentaire: Produit par C. B. Cochran, la pièce a été créée le 18 août 1930, au King's Theatre à Edinburgh. Elle s'est ensuite jouée à Liverpool, Birmingham, Manchester et Southsea durant 5 semaines avant d'inaugurer le tout nouveau Phoenix Theatre de Londres, le 24 septembre 1930. La semaine suivante, Heinemann a publié le texte. Une semaine plus tard, HMV a sorti un enregistrement de différentes scènes jouées par Coward et Lawrence. Coward n'aimait pas jouer dans de longues séries, et pour cette raison il a limité la série à trois mois. C'était sold out tous les soirs, mais la pièce s'est arrêtée le 20 décembre 1930.  (plus) 

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