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Savoy Theatre
Londres
Angleterre

Construction: 1881
Topologie du théâtre
Nombre de salles actives: 1
Salle 1: (1156)    1881 - Actif
Accès
En métro: Charing Cross/Leicester Square/Covent Garden
En bus: 14, 19, 22, 24, 29, 38, 40, 176
Adresse: Savoy Court, Strand, London, WC2R 0ET
Evolution
Bâtiment: 1881. Theatre designed by C. J. Phipps for Richard D'Oyly Carte / 1903. Extensive repair works, fireproofing and overhaul of heating and ventilation by architect A. Bloomfield Jackson / 1929. Theatre completely remodelled by Frank A. Tugwell, with Interior decoration by Basil lonldes. Easton and Robertson alter the Savoy Court entrance / 1990. Building extensively damaged by fire / 1993. Restoration completed by Whitfield Partners and theatre reopens / Statutorily Listed Historic Building: Grade II*
Nom:
Propriétaire(s):
Ambassador Theatre Group

Remarquable:
The planning of the theatre on its steeply sloping site / The superb mature Art Deco interior.
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(1156)    1881 - Actif

Critique de "Guys and Dolls" au Savoy

 Londres (Angleterre)
 Savoy Theatre  
 Guys and Dolls  
 Publié le 07 janv. 2016
Les critiques sont très bonnes:   

La période de réservation de "Funny Girl" au Savoy étendue.

 Londres (Angleterre)
 Savoy Theatre  
 Funny Girl  
 Publié le 04 déc. 2015
Alors que Funny Girl vient à peine de commencer sa série au Menier Chocolate Factory - où toutes les places ont été vendues en moins d'une heure trente! - le transfert du musical au Savoy est lui aussi un succès impliquant que la réservation est maintenant ouverte jusqu'au 10 septembre 2016.

Tickets en vente pour "Funny Girl" au Savoy Theatre

 Londres (Angleterre)
 Savoy Theatre  
 Funny Girl  
 Publié le 14 nov. 2015
Les tickets pour le premier revival à Londres du tube de 1964 "Funny Girl" avec Sheridan Smith dans le rôle de 'Fanny Brice' sont maintenant en vente pour les représentations au Savoy Theatre à partir du 9 Avril 2016.
La production, qui commencera ses previews au Menier Chocolate Factory le 20 novembre 2015, sold out pour toute la série dans le Southwark en 90 minutes!!!

"Funny Girl" transféré du Menier au Savoy dès avril 2016

 Londres (Angleterre)
 Savoy Theatre  
 Funny Girl  
 Publié le 30 oct. 2015
Alors que les représentations n'ont pas encore commencé au Menier Chocolate Factory, il est annoncé que le spectacle sera transféré dans le West End. Il faut dire que le fait que Sheridan Smith joue le rôle principal est un événement. Les places des quatre mois de représentations au Menier ont été vendues en 1h30!

England was experiencing a protracted period of particularly warm but stormy weather when, in 1246, Henry III granted the land upon which the Savoy now stands - then the site of Simon de Montfort's palace - to Peter, Earl of Savoy and Richmond, for a rent of three barbed arrows to be delivered yearly to the Exchequer. Peter willed It in 1268 to the monastery of St Bernard Montjoux, Savoy, whose dependent house, the Hospital of Saints Nicholas and Barnard at Hornchurch, Essex, cared for the poor, aged and sick. Two years later the land was bought by Queen Eleanor of Castile, wife of King Edward I, who gifted it to her second son Edmund, Earl of Lancaster. By 1370 it had been completely rebuilt with unequalled magnificence by Edmund’s grandson Henry, Duke of Lancaster.
Sadly, this magnificence was not to last -1377 was the high point in the short-lived Peasants’ Revolt, and Wat Tyler's rebels duly destroyed the sumptuous palace. The site then languished in ruins until 1505, when It was rebuilt, upon the instruction of King Henry VII, as the Savoy Hospital, which provided nightly accommodation for 100 poor people. To the rear of the Hospital, the chapel of St John the Baptist (now known as the Queen’s Chapel of the Savoy) was built in 1510; the chapel survives within the serene setting of its grassy graveyard.
Following the closure of the hospital in 1702, the buildings began to deteriorate. Nevertheless, a protracted land-ownership dispute ensued between the Crown and the Duchy of Lancaster which eventually resulted in a land-share agreement In 1772. In 1816, the site was cleared to accommodate the new Waterloo Bridge approach road. The Savoy site was helped to prominence by the Victoria Embankment, which was begun In 1864. This enhanced the setting of all buildings along the Strand and Improved access along the riverfront.
In 1881, on the Savoy site, which was by now covered with small buildings grouped around Fountain Court and Beaufort Buildings, construction work started on the Savoy Theatre. The work was put In hand by Richard D’Oyly Carte, who since 1877 had been manager of the Opera Comique, adjacent to the Globe Theatre In Wych Street, now Aldwych. The Savoy was D'Oyly Carte’s first theatre; his success had begun when, in 1875, he produced Gilbert and Sullivan’s Trial By Jury at the Royalty Theatre. His fortunes with Gilbert and Sullivan continued when, in 1878, HMS Pinafore opened and then ran for 700 nights, followed by The Pirates of Penzance (1880) and Patience (1881), by which time Gilbert and Sullivan were D’Oyly Carte's partners and his profits were soaring.
On the back of these profits, D’Oyly Carte commissioned C. J. Phipps In 1881 to design his own Savoy Theatre. Phipps came up with an Italian Renaissance design, overcoming in his plans the problems posed by the steep site by positioning his main entrance on the angle between Carting Lane and Savoy Way. Always forward-looking, D’Oyly Carte was proud to unveil the theatre as the first public building in the world to be totally illuminated by electricity, which would enhance the white, yellow and gold décor. As a precaution against power failure, however, the gas pilot lights would be kept lit!
In 1884 D’Oyly Carte decided to build a hotel next to his theatre. This time he engaged architect T. E. Collcutt, who would later design his Palace Theatre - part of the expanding D'Oyly Carte empire - in 1891. The hotel was the beginning of what was to become an even larger complex, which grew in stages.
In 1903 Savoy Court - the short approach road to the theatre and the hotel from the Strand - was refronted to match the hotel, and a new theatre entrance and extensive alterations to the auditorium and foyer were put in hand. The west block was added in 1905 and the Embankment block in 1910. The Building News of 22 January 1904 refers to extensive alterations being demanded by London County Council to meet the ever more comprehensive building and fire regulations, and to a decorative scheme in Venetian red, old gold and peacock blue.
By 1929 the three-tier auditorium was considered old-fashioned, and architect Frank A. Tugwell was commissioned to rebuild the theatre practically from scratch. All that remained after the demolition works were Phipps’s Carting Lane entrance and the main side walls into which Tugwell designed his two-tier auditorium, with interior decoration by designer Basil lonldes. Levels within the building are governed by the sloping site: Savoy Court corresponds with the upper-circle level, and the scenery get-in from Carting Lane is at fly-floor level, an inconvenience that makes for some manoeuvring difficulties. At the same time as Tugwell was engaged on the auditorium, modernist architects Easton and Robertson, who were later to design the fine laboratory buildings adjacent to the Sadler’s Wells Theatre, were employed to modernize the Savoy Court elevation. They installed a range of glazed doors framed in stylized drapes, within a polished stainless-steel canopy supporting the theatre name in oversized steel sans-serif letters, set against the Doulton Carrara Ware (similar to faience) facing to the hotel. Beyond the doors lies the mirrored foyer with its silver-leafed rectangles, a pretty box office and a staircase that descends to the stalls and the dress circle. This is the visitor’s first glimpse of lonides’ inspired Art Deco moderne interior.
The two-tier auditorium, decorated like the foyer in silver-leafed rectangles, is a tribute to the creativity of Basil lonides and is one of the great examples of Art Deco interior design. The front half of the auditorium has two giant sounding boards either side of the plain proscenium, each designed to accommodate 43 decorated panels derived from a Chinese lacquer screen, but designed in a contrived perspective. Behind, the walls are heavily fluted, producing a remarkable display of graded light and shade, with tongued fluting extending along the balcony fronts. The ceiling above the stalls houses rectangular lighting panels, and above the upper circle a cloudy blue sky has been painted. Colour is used sparingly on the sunken ornamental soffit panels to the underside of the balconies, as an eye-catching contrast to the expanses of silver leaf.
Stand at the front of the stalls, look back into this auditorium and imagine the devastation left by a totally destructive fire in 1990. The ceiling was open to the sky and the decoration virtually destroyed. With a dedication far beyond the normal, the management, along with the architects Whitfield Partners, set about a restoration of breathtaking quality - comparable to the refurbishment of Castle Howard, Yorkshire, or Upark, Sussex, after equally extensive fire damage - and one which everyone who visits the theatre is able to appreciate. The building reopened in 1993.
Sadly, nothing remains of the original timber stage machinery. Instead, a state-of-the-art modular counterweighted stage has been installed and the grid has been lowered to accommodate the hotel’s swimming pool above.
Many of the Savoy's greatest stage moments were during the years 1910-18, when Henry Irving was actor-manager. Irving would appear regularly on stage, and prior to his death, James Montgomery’s farce Nothing But the Truth was to run for close on 600 performances. Following this, after Gilbert and Sullivan revivals In the early 1930s, The Man Who Came to Dinner ran for over 700 performances in 1942. The Secretary Bird ran for 1,500 performances ending in 1972, followed by the highly successful Noises Off (1,912 performances).

1881. Theatre designed by C. J. Phipps for Richard D'Oyly Carte / 1903. Extensive repair works, fireproofing and overhaul of heating and ventilation by architect A. Bloomfield Jackson / 1929. Theatre completely remodelled by Frank A. Tugwell, with Interior decoration by Basil lonldes. Easton and Robertson alter the Savoy Court entrance / 1990. Building extensively damaged by fire / 1993. Restoration completed by Whitfield Partners and theatre reopens / Statutorily Listed Historic Building: Grade II*

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Infos complémentaires:

The Stalls at the Savoy feel a lot smaller than other venues of a similar size, mainly due to the fact that the block of seats is undivided. The seats are set firmly away from the entrances and go straight back rather than curve, meaning even seats on the end of each row enjoy a good view. Each row grows to a modest 30 seats across in the centre of the section, at a slight rake allowing much of the stage to be seen. The front of the stalls is often sold at a discounted price due to it being very close to the orchestra pit. The stage is set quite high, and so some neck straining does occur in the first three rows. The height of the stage also means smaller audience members may miss details such as the dogs or floor props, and so for the same price we would advise sitting a few rows back.

The overhang of the Dress Circle only creates a problem from row N and back, as the top of the proscenium is missed by those in the rear of the stalls. The rear stalls also has speakers which can affect sight lines, particularly for performances that use the top of the stage. Seats surrounding the sound desk at the back of the theatre should also be avoided as it can lead to various distractions. Best seats are usually midway back, as close to the centre as possible.

The Dress Circle is a unique shape split into three sections, two at the rear and one large section towards the front. Because of the shape a number of seats in this section are labelled restricted due to the safety rails that run across the balcony and stairwells. The front section offers the best value for money, but side seats in the first few rows have less leg room due to the curve of the balcony. This section is divided horizontally, so there is no centre aisle. Those wishing to find additional legroom should sit further back in the front section towards the end of each row.

The Upper Circle overhangs the back section of the Dress Circle after row F, blocking the top of the stage from those sitting towards the rear. A rail runs along the front of the Dress Circle, which is forewarned to those sitting in row A, although it is possible to see the action without too much discomfort. The back of the Dress Circle is divided by a larger safety rail which runs across row G; affecting sight lines in the subsequent two rows. To avoid this it is worth paying less to sit a couple of rows back, or booking similar priced tickets in the stalls.

The Upper Circle is divided into two equal sections by a horizontal aisle. The front section provides excellent value for money, and despite feeling far from the stage the view is exceptionally clear. The theatre warns against the front row due to a safety rail, but this is easily overcome and does not prove to be a significant distraction. Leg room in the first couple of rows is particularly tight, but further back it is more than adequate.

The rear section is more affected by safety rails, and should be considered last. There is a significant difference between the two sections, and due to the rake of the rear Upper Circle the stage feels very far away. Having said that, the view of the sets is excellent, but character detail and faces are often lost. It is often possible to move forward into empty seats, especially if you are visiting mid-week, so these seats are often excellent value for money.

The planning of the theatre on its steeply sloping site / The superb mature Art Deco interior.

Sunday in the Park with George
[11 juin 20 - 05 sept. 20]

Musical
West End Transfer

1) Sunday in the Park with George (West End Transfer)

Joué durant  2 mois 3 semaines

Première preview: jeu. 11 juin 2020
Première: jeu. 11 juin 2020
Dernière: sam. 05 septembre 2020

Metteur en scène: Sama Lapine •  
Chorégraphe:  
Avec: Jake Gyllenhaal, Annaleigh Ashford 

Commentaire: Jake Gyllenhaal and Annaleigh Ashford are set to reprise their roles in Stephen Sondheim's musical Sunday in the Park with George, which transfers to the West End's Savoy Theatre following Broadway success in 2017.  (plus) 

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Musical
Original London

33) 9 to 5 (Original London)

Joué durant  1 an 3 mois 3 semaines

Première preview: lun. 28 janvier 2019
Première: lun. 28 janvier 2019
Dernière: sam. 23 mai 2020

Metteur en scène: Jeff Calhoun •  
Chorégraphe:  
Avec: Louise Redknapp, Amber Davies, Natalie McQueen, Brian Conley. 

Commentaire:   

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Musical
Original London

32) Dreamgirls (Original London)

Joué durant  2 ans 1 mois

Première preview: sam. 19 novembre 2016
Première: mar. 13 décembre 2016
Dernière: sam. 12 janvier 2019

Metteur en scène: Casey Nicholaw •  
Chorégraphe: Casey Nicholaw •  
Avec: Amber Riley (Effie) - please note, Ms Riley will not perform Wednesday PM performances. The role of Effie White during these shows will be shared between Ruth Brown and Karen Mav. Tyrone Huntley (C.C White), Adam J Bernard (Jimmy), Nicholas Bailey (Marty), Joe Aaron Reid (Curtis Taylor Jnr), Liisi LaFontaine (Deena), Ibinabo Jack (Lorrell), Lily Frazer (Michelle Morris), Jocasta Almgill, Callum Aylott, Hugo Batista, Samara Casteallo, Chloe Chambers, Carly Mercedes Dyer, Joelle Dyson, Kimmy Edwards, Candace Furbert, Nathan Graham, Ashley Luke Lloyd, Gabriel Mokake, Abiola Ogunbiyi, Sean Parkins, Kirk Patterson, Ryan Reid, Rohan Richards, Noel Samuels, Durone Stokes and Tosh Wanogho-Maud. 

Commentaire: Thirty-five years after the groundbreaking original Broadway production, this UK and West End premiere of the sensational and iconic Tony Award-winning musical Dreamgirls comes to the Savoy Theatre in November, 2016.  (plus) 

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Musical
West End Transfer

31) Funny Girl (West End Transfer)

Joué durant  6 mois

Première preview: sam. 09 avril 2016
Première: sam. 09 avril 2016
Dernière: sam. 08 octobre 2016

Metteur en scène: Michael Mayer •  
Chorégraphe:  
Avec: Sheridan Smith (Fanny Brice), Natasha J Barnes (Fanny Brice at some performances/Emma/Mrs Nadler), Darius Campbell (Nicky Arnstein), Marilyn Cutts (Mrs Brice), Maurice Lane (Mr Keeney), Valda Aviks (Mrs Meeker), Gay Soper (Mrs Strakosh), Bruce Montague (Florenz Ziegfeld), Joel Montague (Eddie Ryan), Philip Bertioli (Cornet Man/Tenor Soloist/ Ensemble), Emma Caffrey (Bubbles/Ensemble), Joelle Dyson (Ensemble), Rebecca Fennelly (Polly/Ensemble), Luke Fetherston (John/Cornet Man/Ensemble), Matthew Goodgame (Director/Renaldi/Paul/Ensemble), Leah Harris (Ensemble), Kelly Homewood (Vera/Ensemble), Sammy Kelly (Mimsey/Ensemble), Sanchia Amber Clarke, Lucinda Collins, Sam Murphy, Tom Murphy, Clare Rickard and Oliver Tester. 

Commentaire: L'annonce du West End Transfert de cette version de "Funny Girl" a été faite avant même que ne commencent les représentations au Menier Chocolate Factory du même spectacle, dont les 4 mois de réprésentations ont été Sold Out en prévente, en moins de 2 heures!!! L'effet Sheridan Smith? Ce sera en tous cas son retour au Savoy Theatre quelques années après son triomphe dans "Legally Blonde"…  (plus) 

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Musical
West End Transfer

30) Guys and Dolls (West End Transfer)

Joué durant  2 mois

Première preview: jeu. 10 décembre 2015
Première: mer. 06 janvier 2016
Dernière: sam. 12 mars 2016

Metteur en scène: Gordon Greenberg •  
Chorégraphe: Andrew Wright • Carlos Acosta •  
Avec: Sophie Thompson (Miss Adelaide), Jamie Parker (Sky Masterson), David Haig (Nathan Detroit), Siubhan Harrison (Sarah Brown), Lucy Jane Adcock, Abigail Brodie, Cornelius Clarke, Momar Diagne, Lavinia Fitzpatrick, Lorna Gale, Nic Greenshields, Selina Hamilton, Ian Hughes, Frankie Jenna, Jacob Maynard, Neil McCaul, Genevieve Nicole, William Oxborrow, Max Parker, Carl Patrick, James Revell, Giovanni Spano, Gavin Spokes, Jonathan Stewart, Lucie Mae Sumner and Liam Wrate. 

Commentaire: Transfert du Chichester Festival et sera ensuite transféré au Phooenix Theatre.  (plus) 

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Musical
Revival

29) Gypsy (Revival)

Joué durant  7 mois 2 semaines

Première preview: sam. 28 mars 2015
Première: mer. 15 avril 2015
Dernière: sam. 28 novembre 2015

Metteur en scène: Jonathan Kent •  
Chorégraphe: Stephen Mear •  
Avec: Imelda Staunton (Momma Rose), Lara Pulver (Louise), Peter Davison (Herbie), Gemma Sutton (June), Dan Burton (Tulsa), Billy Hartman (Uncle Jocko), Jack Chissick (Mr Goldstone), Anita Louise Combe (Tessie Tura), Harry Dickman (Pop), Lucinda Shaw (Mother), Roger Dipper (L.A.), Louise Gold (Mazeppa), Clare Halse (Majorie May), Tom Hodgkins (Mr Weber), Kieran Jae (Yonkers), Julie Legrand (Electra), Danielle Morris (Geraldine), Luke Street (Little Rock), Damien Poole (Kansas), Lauren Hall (Delores) and Natalie Woods (Agnes). Ensemble members include Liz Ewing, Lauren Ingram, Tom Murphy and Phillip Catchpole. 

Commentaire: Avec Imelda Staunton  (plus) 

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Musical
Original London

28) Dirty Rotten Scoundrels (Original London)

Joué durant  11 mois 1 semaine

Première preview: lun. 10 mars 2014
Première: mer. 02 avril 2014
Dernière: sam. 07 mars 2015

Metteur en scène: Jerry Mitchell •  
Chorégraphe:  
Avec: Robert Lindsay (Lawrence Jameson), Alex Gaumond (Freddy Benson), Katherine Kingsley (Christine Colgate), Bonnie Langford (Muriel Eubanks ), Ben Fox (Andre Thibault), Lizzy Connolly (Jolene), Gavin Alex, Darren Bennett, Niamh Bracken, Lisa Bridge, Darren Carnall, Andy Conaghan, Phoebe Coupe, Claire Doyle, Alice Fearn, Selina Hamilton, Ian Knauer, Lisa Mathieson, Zak Nemorin, Genevieve Nicole, Javier Santos, Todd Talbot, Dominic Tribuzio, Jon Tsouras, Zara Warren. 

Commentaire:   

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Musical
Reprise

27) Let it be (Reprise)

Joué durant  1 an 1 semaine

Première preview: ven. 01 février 2013
Première: ven. 01 février 2013
Dernière: sam. 08 février 2014

Metteur en scène:  
Chorégraphe:  
Avec: There are two casts performing in the show, alternating from night to night. The current company is comprised of: Emanuele Angeletti, John Brosnan, James Fox, Michael Gagliano, Reuven Gershon, Stephen Hill, Phil Martin, Luke Roberts 

Commentaire: Opened at Prince of Wales Theatre 24 Sep 2012, following previews from 14 Sep, running to 19 Jan 2013. Transfers to Savoy Theatre 1 Feb 2013  (plus) 

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Musical
Revival

26) Cabaret (Revival)

Joué durant  3 mois 1 semaine

Première preview: mer. 03 octobre 2012
Première: mar. 09 octobre 2012
Dernière: sam. 19 janvier 2013

Metteur en scène: Rufus Norris •  
Chorégraphe: Javier De Frutos •  
Avec: Michelle Ryan (Sally Bowles), Will Young (Emcee), Sian Phillips (Fraulein Schneider), Harriet Thorpe (Fraulein Kost), Matt Rawle (Cliff), Linal Haf (Herr Schultz), Nicholas Tizzard (Ernst), John Brannoch; Jessica Ellen; Allessia Lugoboni; Edd Mitton; Ian Parsons; Nuno Silva; Rebecca Sutherland; Shahla Tarrant; Laura Tyrer; Cydney Uffindell-Phillips, Matthew Wesley. 

Commentaire: Il s'agit de la fin à Londres de l'UK-Tour de 2012.
This was a revival of the dark and disturbing production which had a much praised two year run in 2006. For this revival several of the numbers had been re-staged with different choreography, and some critics felt it had lost some of its power and ability to shock. The performance of “pop-idol” Will Young, in his West End, was acclaimed, and there was much praise for Sian Phillips and Linai Haft.  (plus) 

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Musical
West End Transfer

25) Soul Sister (West End Transfer)

Joué durant  1 mois 1 semaine

Première preview: lun. 20 août 2012
Première: jeu. 23 août 2012
Dernière: sam. 29 septembre 2012

Metteur en scène: Pete Brooks • Bob Eaton •  
Chorégraphe: Jason Pennycooke •  
Avec: Emi Wokoma (Tina Turner), Chris Tummings (Ike Turner), Sharon Benson, Nadine Higgin, Ngo Ngofa, Joanne Sandi 

Commentaire:   

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Théâtre
Revival

24) Sunshine Boys (The) (Revival)

Joué durant  2 mois 1 semaine

Première preview: ven. 27 avril 2012
Première: jeu. 17 mai 2012
Dernière: sam. 28 juillet 2012

Metteur en scène: Thea Sharrock •  
Chorégraphe:  
Avec: Danny DeVito (Willie Clark), Richard Griffiths (Al Lewis), Rebecca Blackstone (Miss MacKintosh), Nick Blakeley (Eddie), Peter Cadden (Voice of TV Director), Johnnie Fiori (Registered Nurse), Adam Levy (Ben Silverman), William Maxwell (Patient) 

Commentaire: Kings of comedy, Willie Clark and Al Lewis aka The Sunshine Boys haven t spoken to each other in years. When CBS call for the vaudevillian greats to be re-united for a nostalgic History of Comedy, past grudges resurface as they take centre stage once more. Ageing ailments aside, can this legendary double-act overcome their differences for one last show?  (plus) 

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Musical
Original London

23) Legally Blonde (Original London)

Joué durant  2 ans 2 mois 3 semaines

Nb de représentations: 974 représentations
Première preview: sam. 05 décembre 2009
Première: mer. 13 janvier 2010
Dernière: sam. 07 avril 2012

Metteur en scène: Jerry Mitchell •  
Chorégraphe: Jerry Mitchell •  
Avec: Sheridan Smith (Elle Woods), Duncan James (Warner Huntingdon), Peter Davison (Professor Callahan), Jill Halfpenny (Paulette), Chris Ellis-Stanton (Kyle), Aoife Mulholland (Fitness Instructor), Alex Gaumond ( Emmett Forest) 

Commentaire: Cette version a eu un succès énorme à Londres… Plus qu'à Broadway. Elle a été une vraie révélation de Sheridan Smith, des hordes de fan l'attendant à la sortie des artistes.  (plus) 

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Musical
Revival

22) Dreamboats and Petticoats (Revival)

Joué durant  3 mois

Première preview: mer. 22 juillet 2009
Première: lun. 27 juillet 2009
Dernière: sam. 31 octobre 2009

Metteur en scène: Bob Tomson •  
Chorégraphe: Carole Todd •  
Avec: Scott Bruton, Ben Freeman, Jennifer Biddall, David Cardy, Daisey Wood-Davis, A.J. Dean 

Commentaire: The run terminated on 31 October 2009 to make way for Legally Blonde.
This show was inspired by the unexpectedly huge sales of a CD issued by Universal Music, aimed at the nostalgia market. The first “Dreamboats and Petticoats” CD sold over two million copies and led to the creation of a stage show which began a five month UK tour in Bromley in February 2009. The success of the tour led to its West End debut, as a seven-week filler. After a three month gap, the show was re-created at the Playhouse Theatre in January 2010 and is still running at the start of 2012. At the same time a second UK tour played throughout 2010, much of 2011 and is planned to run through 2012.  (plus) 

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Musical
Revival

21) Carousel (Revival)

Joué durant  6 mois 2 semaines

Nb de représentations: 231 représentations
Première preview: sam. 22 novembre 2008
Première: mar. 02 décembre 2008
Dernière: sam. 20 juin 2009

Metteur en scène: Lindsay Posner •  
Chorégraphe: Adam Cooper •  
Avec: Jeremiah James (Billy Bigelow), Alexandra Silber (Julie Jordan), Lauren Hood (Carrie Pipperidge), Alan Vicary (Enoch Snow), Lesley Garrett (Nettie Fowler), Graham MacDuff (Jigger), Lindsey Wise (Louise), Diana Kent, Derek Hagen, Tom Dwyer 

Commentaire: With a first-class cast, much-praised choreography and exciting design making subtle use of projection, this was a very satisfying revival. Those with memories of the quite exceptional National Theatre production sixteen years earlier did find the present show lacking that extra little something, but for everyone else this was superb entertainment. It was originally booked to close at the end of July 2009, but closed a month early, on June 20 th when advance bookings fell away.  (plus) 

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Musical
Original London

20) Never Forget (Original London)

Joué durant  5 mois 4 semaines

Première preview: mer. 07 mai 2008
Première: mer. 21 mai 2008
Dernière: sam. 15 novembre 2008

Metteur en scène: Ed Curtis •  
Chorégraphe: Karen Bruce •  
Avec: Dean Chisnall (Ash Sherwood), Craige Els (Jake Turner ), Tim Driesen (Adrian Banks), Eaton James (Dirty Harry ), Stephane Anelli (Jose Reize), Sophia Ragavelas (Chloe Turner), Joanne Farrell (Annie Borrowman), Teddy Kempner (Ron Freeman), Marilyn Cutts (Babs Sherwood) 

Commentaire: Originally premiered in Cardiff in July 2007, followed by a successful tour, the show was re-staged in March 2008 for a six city pre-West End tour. It was a lavish £3 million production with songs written by Gary Barlow and several others, and received very good notices. It ran for six months, closing on November 15th because the Savoy was p r e - b o o k e d f o r “Carousel”. The original plan had been to transfer “Never Forget” to the smaller Lyric Theatre, but it seems the producers wanted to pay lower salaries at the smaller theatre, and Equity resisted. With such a large cast the show had rarely covered its weekly costs, so the transfer was abandoned. It was said the entire £3 million investment was lost on this show  (plus) 

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Théâtre

19) Legal Fictions ()

Joué durant  1 mois 3 semaines

Première preview: jeu. 21 février 2008
Première: jeu. 28 février 2008
Dernière: sam. 26 avril 2008

Metteur en scène: Christopher Morahan •  
Chorégraphe:  
Avec: Edward Fox, Nicholas Woodeson, Polly Adams 

Commentaire:   

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Musical
Revival

18) Fiddler on the Roof (Revival)

Joué durant  8 mois 3 semaines

Première preview: sam. 19 mai 2007
Première: mar. 29 mai 2007
Dernière: sam. 16 février 2008

Metteur en scène: Lindsay Posner •  
Chorégraphe: Jerome Robbins • Kate Flatt •  
Avec:  

Commentaire:   

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Musical
Revival

17) Porgy and Bess (Revival)

Joué durant  5 mois 3 semaines

Première preview: mer. 25 octobre 2006
Première: jeu. 09 novembre 2006
Dernière: sam. 05 mai 2007

Metteur en scène: Trevor Nunn •  
Chorégraphe: Jason Pennycooke •  
Avec: Cast: Clarke Peters (Porgy), Nicola Hughes (Bess), O-T Fagbenie (Sportin’Life), Cornell S John (Crown), Edward Baruwa, Yolanda Grant-Thompson, Ruby King, Lorraine Velez, Des Coleman, Anton Stephans 

Commentaire: Notes: Trevor Nunn had directed the opera “Porgy and Bess” at Glyndebourne in 1986, and that production, conducted by Simon Rattle, was re-created as a television opera in 1993, and re-staged for a one-night concert version at the 1998 Royal Albert Hall Promenade Season. This, however, was produced as a “musical” not an opera. Working with the Gershwin estate, Nunn used dialogue from the original novel and subsequent Broadway stage play to replace the recitatives with naturalistic scenes. He also considerably reduced its running time. He did not cast operatic voices but relied on musical theatre actors as leads. Gareth Valentine re-scored the work for a 20-strong orchestra (as opposed to the 50 piece symphony orchestra of the Glyndebourne version).
In spite of generally welcoming reviews the show did not attract an audience, and closed after just a few months.  (plus) 

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Musical
Original

16) Murderous instincts (Original)   

Joué durant  1 semaine

Première preview: lun. 27 septembre 2004
Première: jeu. 07 octobre 2004
Dernière: sam. 16 octobre 2004

Metteur en scène:  
Chorégraphe: Jhesus Aponte •  
Avec: Nichola McAuliffe (Edwina Buckingham), Arvid Larsen (Colin) , Natalie O’Donnell (Lauren), Jonathan D. Ellis (Miguel), Kevin Colson (Adolfo), Simon Clarke (Tweedman, the lawyer), John Capes (Homeless Man), Jhesus Aponte (Enrique), Janet Fuentes Torres (Graciela) 

Commentaire: Billed as the “Salsa Comedy Murder Mystery”, written by Cinda Fox, heiress of the Firestone Rubber Company, and produced by her husband, Manny - this was a vanity production doomed from its earliest days. Several directors came and went: one, Bob Carlton, was publicly sacked by a screaming Manny in front of the matinee audience during a Norwich try-out; the second, Michael Rooney (son of Mickey) was forced to quit when refused a work permit, although he did (apparently!) attempt to direct it by telephone from Paris; pre-opening rumours suggested several other director casualties and finally no directing credit appeared - just last minute Murray Melvin and Syd Ralph billed as “Artistic Advisors”. The critics rocked with laughter - laughing at, rather than with, this “fantastically dreadful new musical” - and it was immediately referred to as “Suicidal Tendencies”. It closed after just one week.  (plus) 

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Musical
West End Transfer

15) Return to the Forbidden Planet (West End Transfer)

Joué durant  1 mois 1 semaine

Première preview: mar. 11 décembre 2001
Première: mar. 11 décembre 2001
Dernière: sam. 19 janvier 2002

Metteur en scène: Bob Carlton •  
Chorégraphe: Carole Todd •  
Avec: Sarah Beaumont (Miranda), James Earl Adair (Dr Prospero), Adrian Cobey (Captain Tempest), Diana Croft, Scott Finlay, Zita Frith, Cameron Gordon, Christine Holman, Nick Lashbrook, Jane Milligan, Philip Reed, Frederick Ruth 

Commentaire: This re-worked version had transferred from Bob Carlton’s base at the Queen’s Theatre Hornchurch for a limited return season in the West End.  (plus) 

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Original

14) Tess of D'Urbervilles (Original)   

Joué durant  1 mois 4 semaines

Nb de représentations: 77 représentations
Première preview: sam. 30 octobre 1999
Première: mer. 10 novembre 1999
Dernière: ven. 08 janvier 1999

Metteur en scène: Karen Louise Hebden •  
Chorégraphe: Terry John Bates •  
Avec: Poppy Tierney/Phillipa Healey (Tess), Maxine Fone (Young Tess), Jonathan Monks/Robert Irons (Angel Clare), Alasdair Harvey (Alec D’Urberville) 

Commentaire: Adapted from Thomas Hardy’s novel. The critic Bill Hagerty summed it up as “Thomas Hardy’s heroine Tess was a mess, wretched and doomed, and the musical at the Savoy is much the same” This was a sung-through show which included country dancing by “buxom elderly milkmaids frolicking on the kind of village green last seen in Palladium pantomimes circa 1955” (The Spectator). At the opening performance the role of Angel Clare was played at the last moment by the understudy, Robert Irons, replacing Jonathan Monks (“who had the good fortune to be unwell” - Mail on Sunday). The show was universally criticised for its mind-numbing banality, and its musical hubris. It ran for ten weeks.  (plus) 

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Théâtre
Revival

13) Hay Fever (Revival)

Joué durant  2 mois 4 semaines

Première preview: mer. 09 juin 1999
Première: lun. 14 juin 1999
Dernière: sam. 11 septembre 1999

Metteur en scène:  
Chorégraphe:  
Avec: Geraldine McEwan as 'Judith Bliss' with Peter Blythe as 'David Bliss', Monica Dolan as 'Sorel Bliss', Stephen Mangan as 'Simon Bliss', Scott Handy as 'Sandy Tyrell', Sylvestra Le Touzel as 'Myra Arundel', Macolm Sinclair as 'Richard Greatham', Cathryn Bradshaw as 'Jackie Coryton' and Anne White as 'Clara' 

Commentaire:   

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Musical
Original

12) Boogie nights (Original)

Joué durant  2 mois 3 semaines

Nb de représentations: 95 représentations
Première preview: ven. 16 octobre 1998
Première: mar. 20 octobre 1998
Dernière: sam. 09 janvier 1999

Metteur en scène: Jon Conway •  
Chorégraphe: Alan Harding •  
Avec: Shane Richie (Roddy), Lisa Maxwell (Debs), Sharon Benson (Lorraine), Peter Piper (Spencer), Nicholas Denney (Eamon), Steven Serlin (Terry), Jane Doyle, Mark Thrippleton, Ian Royce, John Blackman, Jo Redbum, Simon Smith. 

Commentaire: This was a touring production which had originated at the Churchill Theatre in Bromley, and was playing a limited season in the West End. It received very mixed notices: “the most dismal of my theatregoing experiences”, “a blatant rip-off’, “pleasantly terrible, weirdly wonderful”, “sends us home on a nine-mile high”. The critics generally liked Shane Richie, but were unanimous in their praise for the young chorus boy-dancer, Simon Smith, saying he was the best thing in the show.  (plus) 

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Musical
Revival

11) She loves me (Revival)

Joué durant  1 an

Nb de représentations: 407 représentations
Première preview: jeu. 30 juin 1994
Première: mar. 12 juillet 1994
Dernière: lun. 17 juillet 1995

Metteur en scène: Scott Ellis •  
Chorégraphe: Rob Marshall •  
Avec: Ruthie Henshall (Amalia Balash), John Gordon-Sinclair (Georg Nowack), Tracie Bennett (Ilona Ritter), Gerard Casey (Steven Kodaly), David de Keyser (Zoltán Maraczek), Barry James (Ladislaw Sipos) 

Commentaire: This much-praised revival ran almost one year.  (plus) 

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Original London

10) Sugar Babies (Original London)

Joué durant  3 mois 2 semaines

Nb de représentations: 127 représentations
Première preview: Inconnu
Première: mar. 20 septembre 1988
Dernière: sam. 07 janvier 1989

Metteur en scène: Ralph G. Allen •  
Chorégraphe:  
Avec: Mickey Rooney, Ann Miller, Rhonda Burchmore, Chris Emmett, Peter Reeves, Len Howe, Bryan Burdon, Michael Davis 

Commentaire: This was a show plagued by injury and postponement. Originally planned to open in the middle of August, it was delayed for a month after Ann Miller suffered an injury. However, once it opened it was acclaimed as a glorious throw-back to the days of variety - a dove act, a juggling act, and a series of sketches in a schoolroom, in a court-room, and a flag-waving finale. Ann Miller and Mickey Rooney won over the critics and audiences alike with their “professionalism and sheer class”. The production had opened in New York in 1979 and had been touring more or less ever since.  (plus) 

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Musical
Revival

9) Kiss me Kate (Revival)

Joué durant  7 mois

Première preview: ven. 15 janvier 1988
Première: ven. 15 janvier 1988
Dernière: sam. 13 août 1988

Metteur en scène: Adrian Noble •  
Chorégraphe: Ron Field •  
Avec: Paul Jones (Fred Graham), Nichola McAuliffe (Lili Vanessi), Jeffrey Dench (Harry), Fiona Hendley (Lois Lane) , Tim Flavin (Bill Calhoun), Emil Wolk & John Bardon (Gangsters), Earline Bentley (Hattie) 

Commentaire: This production opened at Stratford on Avon in January and then did a short tour before arriving in the West End. It played the Old Vic from May to December (with a two week break in August) and then transferred to the Savoy for a further 7 months. Cast changes for the transfer to the Savoy included Tim Flavin, Nicola McAuliffe, James Smillie, and Berwick Kaler.  (plus) 

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Musical
Original London

8) Mystery of Edwin Drood (The) (Original London)

Joué durant  1 mois 4 semaines

Nb de représentations: 68 représentations
Première preview: jeu. 07 mai 1987
Première: jeu. 07 mai 1987
Dernière: sam. 04 juillet 1987

Metteur en scène: Wilford Leach •  
Chorégraphe: Graciela Daniele •  
Avec: Ernie Wise (Chairman/ William Cartwright), Lulu (Princess Puffer/Angela Prysock) , Julia Hills (Edwin Drood/Alice Nutting), Kevin Ranson (Stage Manager/ James Throttle), David Burt (John Jasper/Clive Paget), Paul Bentley, Martin Wimbush, Amanda Dainty 

Commentaire: The 1985 Broadway production with Betty Buckley and Cleo Laine ran for 608 performances and picked up four Tony Awards, and yet the London version was a flop.  (plus) 

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Théâtre
Revival

7) Othello (Revival)

Joué durant  1 mois 2 semaines

Première preview: lun. 19 mai 1930
Première: lun. 19 mai 1930
Dernière: sam. 05 juillet 1930

Metteur en scène:  
Chorégraphe:  
Avec: Duke of Venice: Lawrence D’Orsay; Brabantio: Conway Dixon; Gratiano: John Garside; Lodovico: Philip Desborough; Othello: Paul Robeson; Cassio: Max Monte-sole; Iago: Maurice Browne/Hilary Fisher-White; Roderigo: Ralph Richardson; Montano: Vernon Fortescue; Clown: Horace Sequeira; Singer: John Thompson; Ensemble: A. J. Brown, Andrew Cruickshank, Robin Craven, Michael Curwen, Harold Dewhurst, W. V. Garrod, Geoffrey Gomer, Wilfred Grantham, John Horsley, Gerald Kent, Cecil Rayne, Russell Sedgwick, [Alastair] Sim, Leslie Sorrell, John Thompson, John V. Trevor, Richard Turner, Herbert Uzielli, Gerald Vane, C. Jervis Walter, Richard Williams, Rowland Dyson, A. Whitaker.
Desdemona: Peggy Ashcroft; Emilia: Sybil Thorndike; Bianca: Naomie Ludolf; Ensemble: Rita Daniel, Winifred Oughton, Margaret Barr, Joyce Peters, Rosemary Showler. 

Commentaire: La première fois à Londres que le rôle d'Othello est joué par un acteur noir, le magnifique Paul Robeson (qui avait joué Joe dans Show Boat quelques temps auparavant): "He’s concocted this perfect cocoon exterior: he is the statue of a perfect man. But the statue is flawed: Shakespeare gives him one fissure. The fissure cracks and the statue breaks. He is too jealous: the fault is self-deception. He’s the greatest exponent of self-deception there’s ever been. "
Les débuts à Londres d'Andrew Cruickshank.  (plus) 

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Théâtre
Original London

6) Young Idea (The) (Original London)

Joué durant  1 mois 3 semaines

Première preview: Inconnu
Première: jeu. 01 février 1923
Dernière: sam. 24 mars 1923

Metteur en scène:  
Chorégraphe:  
Avec: Herbert Marshall, Kate Cutler, Noël Coward (Sholto) 

Commentaire:   

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Musical
Return Engagement

5) Merrie England (Return Engagement)

Joué durant  1 mois 3 semaines

Nb de représentations: 56 représentations
Première preview: lun. 24 novembre 1902
Première: lun. 24 novembre 1902
Dernière: sam. 17 janvier 1903

Metteur en scène: Basil Hood •  
Chorégraphe: ???? ???? •  
Avec:  

Commentaire:   

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Musical
Original

4) Merrie England (Original)

Joué durant  3 mois 4 semaines

Nb de représentations: 120 représentations
Première preview: mer. 02 avril 1902
Première: mer. 02 avril 1902
Dernière: mer. 30 juillet 1902

Metteur en scène: Basil Hood •  
Chorégraphe: ???? ???? •  
Avec:  

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Musical
Original

3) Gondoliers (The) (Original)

Joué durant  

Nb de représentations: 554 représentations
Première preview: jeu. 01 janvier 1970
Première: jeu. 01 janvier 1970
Dernière: jeu. 01 janvier 1970

Metteur en scène:  
Chorégraphe:  
Avec: THE DUKE Of PLAZATORO (a Grandee of Spain): Mr. Frank Wyatt / LUIZ (his Attendant): Mr. Wallace Brownlow / DON ALHAMBRA DEL BOLERO (The Grand Inquisitor): Mr. W. H. Denny / MARCO PALMIERI: Mr. Courtice Pounds / GIUSEPPE PALMIERI (Gondolier): Mr. Rutland Barrington / ANTONIO (Gondolier): Mr. Metcalf / FRANCESCO (Gondolier): Mr. Rose / GIORGIO (Gondolier): Mr. De Pledge / ANNIBALE (Gondolier): Mr. Wilbraham / THE DUCHESS OF PLAZATORO: Miss Rosina Brandram / CASILDA (her Daughter): Miss Decima Moore / GIANETTA (Contadina): Miss Geraldine Ulmar / TESSA (Contadina): Miss Jessie Bond / FIAMETTA (Contadina): Miss Lawrence / VITTORIA (Contadina): Miss Cole / GIULIA (Contadina): Miss Phyllis / INEZ (The King's Foster Mother): Miss Bernard 

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Musical
Original

2) Rose of Persia (The) (Original)

Joué durant  

Nb de représentations: 220 représentations
Première preview: jeu. 01 janvier 1970
Première: jeu. 01 janvier 1970
Dernière: jeu. 01 janvier 1970

Metteur en scène:  
Chorégraphe:  
Avec:  

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Musical
Original

1) Grand Duke (The) (Original)

Joué durant  

Nb de représentations: 123 représentations
Première preview: jeu. 01 janvier 1970
Première: jeu. 01 janvier 1970
Dernière: jeu. 01 janvier 1970

Metteur en scène:  
Chorégraphe:  
Avec: Mr. Walter Passmore (RUDOLPH (Grand Duke of Pfennig Halbpfennig)), Mr. Charles Kenningham (ERNEST DUMMKOPF (a Theatrical Manager)), Mr. Rutland Barrington (LUDWIG (his Leading Comedian)), Mr. Scott Russell (DR. TANNHUSER (a Notary)), Mr. Scott Fische (THE PRINCE OF MONTE CARLO), Mr. E. Carlton (VISCOUNT MENTONE), Mr.C. Herbert Workman (BEN HASHBAZ (a Costumier)), Mr. Jones Hewson (HERALD), Miss Emmie Owen (THE PRINCESS OF MONTE CARLO (betrothed to RUDOLPH)), Miss Rosina Brandram (THE BARONESS VON KRAKENFELDT (betrothed to RUDOLPH)), Miss Ilka Palmay (JULIA JELLICOE (an English Comédienne)), Miss Florence Perry (LISA (a Soubrette)), ... 

Commentaire:   

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