Wyndham s Theatre (Londres)

Wyndham s Theatre
Londres
Angleterre

Construction: 1899

Topologie du théâtre
Nombre de salles actives: 1
Salle 1: (750) 1899 - Actif
Accès
En métro: Leicester Square
En bus: 24, 29, 176
Adresse: Charing Cross Road, London, WC2H 0DA
Evolution
Bâtiment: 1899. Designed by W. G. R. Sprague for (Sir) Charles Wyndham and Mary Moore, and built on the Marquess of Salisbury's estate / Statutorily Listed Historic Building: Grade II*
Nom:
Propriétaire(s):
Delfont Mackintosh Theatres

Remarquable:
A perfect example of how judicious planning can achieve an illusion of space on a very restricted site / One of the finest theatre interiors in London

Critique de "Hangmen" au Wyndham's Theatre

Londres (Angleterre)

Wyndham s Theatre

** Hors DB Theatre

Publié le 10 déc. 2015

Les critiques sont très très bonnes:

Wyndham’s Theatre is situated on the western edge of Covent Garden, close to the junction of Charing Cross Road with Cranbourne Street, amid a mass of street furniture. The building occupies an island site, which prior to their demolition in 1897 supported some dozen small units, including a pub. It Is divided from Its neighbours by St Martin’s Court, a narrow pedestrian way paved with York stone, which precludes any possible expansion beyond its existing yellow stock-brick outer walls. To Its north a dull stone block of the 1930s gives access to Leicester Square underground station, and a plaque records the birth here in 1859 of Sidney Webb, the Fabian socialist and gradualist social reformer. In an area once famous for 'horsy and fighting men’, the neighbouring Round Table pub Is said to have housed American John C. Heenan before his championship fight with Englishman Tom Sayers at the end of the 18th century.
Sir Charles Wyndham was born In Liverpool in 1837 and christened Charles Culverwell. The son of a surgeon, he studied medicine In London and Dublin, qualifying In 1858, but at the same time and - against his father’s wishes - he harboured a burning desire to become an actor. In 1862 Culverweil joined the federal army to serve as a surgeon in the American Civil War, taking leave from his duties during the winter months to appear on the New York stage. In 1865 he returned home to pursue a theatrical career, changing his name to Wyndham along the way. In 1875 he became actor-manager at the Criterion Theatre, and It was here that he met the 23-year-old actress Mary Moore, already married to playwright James Albery (who died of cirrhosis of the liver In 1889) and a mother of three children. Beautiful and clever, Mary became Wyndham’s leading lady and business partner, and his wife only three years before his death In 1919. By that time they owned three West End theatres, the Criterion, Wyndham’s and the New (now the Noël Coward Theatre) In St Martin's Lane; and Charles Wyndham had become Sir Charles, having been knighted for services to the theatre In 1902, an accolade that ensured his acceptance Into the polite society of Edwardian England.
Having found success on the London stage by the late 1890s, Wyndham turned to pursue his longstanding ambition to establish his own theatre. The buildings on the Charing Cross Road site were in a state of decay, and ripe for redevelopment. A Mr Pyke had also noted the island’s potential, but the Marquess of Salisbury, upon whose land the buildings stood, so admired Wyndham as an actor that this opposition was summarily despatched, and the site was Wyndham’s - provided he could raise the purchase price and subsequent building costs. He was not a wealthy man, and It was Mary Moore who rescued a potentially difficult situation, raising the money through her society connections.
To design his theatre, Charles Wyndham commissioned the 34-year-old W. G. R. Sprague, an admirer of the French and Italian Renaissance. In Wyndham’s - one of eight theatres that Sprague had on his drawing board In 1899 - he produced the epitome of European civic theatre architecture overlaid with an English sense of good breeding and quiet confidence. Faced In Portland stone, the free classical façade of two and three storeys Is three major bays wide. The central bay has a balustrade loggia at first-floor level, and a crowning pediment containing a bust of Shakespeare flanked by muses and cherubs. The foyer entrance is to the left of the façade, leading through enriched doors to a very pretty circular blue and gold foyer with a small but attractive staircase, which, In turn, gives way to one of London's most beautiful and little-altered auditoria. Elegant and sophisticated, It is decorated In a Louis XVI style, retaining the original turquoise blue and cream colour scheme described in The Era of November 1899, with painted panels of flowers and leaves on the royal- circle front, and lion-head masks and medallions, in painted panel, on the grand-circle front. The steeply raked balcony rises up from the rear of the grand circle. The richly gilded architectural proscenium is dominated by three-dimensional allegorical figures and flanked by three tiers of bow- fronted boxes between Corinthian pilasters. The circular celling comprises four very fine painted panels after François Boucher, an 18th-century painter of pastorals.
Although little survives of the original timber sub¬stage machinery, the fly-floors were fully hemp- worked until 2008. While this was a rare and rewarding sight, it Imposed limitations on the productions that could be brought into the theatre as well as creating health and safety issues.
The theatre opened with David Garrick in a play by T. W. Robertson, and has since staged many successes, including J. M. Barrie’s Dear Brutus (1917), Edgar Wallace’s The Ringer (1926) and, after the Second World War, Quiet Weekend, which ran for 1,059 performances. More recent successes include The Prime of Miss Jean Brodie (1966) Godspeii (1972) and Art (1996).

1899. Designed by W. G. R. Sprague for (Sir) Charles Wyndham and Mary Moore, and built on the Marquess of Salisbury's estate / Statutorily Listed Historic Building: Grade II*

The Stalls section is priced at one level with only the two back rows offering any form of discount. The section is divided by a half aisle, and the seats fan out from the stage with shorter rows leading to longer rows towards the back. All seats fall into the proscenium giving a good overall view of the stage. Seats are raked gently from the first couple of rows, and this becomes more severe from row H. Seats in the first three rows feel very close to the stage, and depending on the performance can be restricted. The final two rows of the stalls are divided by an aisle, and are priced a level below as the top of the stage is obstructed. For most performance this is not too much of an issue.
The overhang begins around row J, with Rows M and back suffering from the level above. Best value seats are therefore from row E - L, as central as possible. The stalls are 18 steps below street level.

The Dress Circle once again is all priced at one level, despite a mixed degree of seating views. Known as the Royal Circle in this theatre, the section is undivided and is wide with six rows running up to thirty seats. The front rows curve around the balcony, and as the section is particularly shallow, some seats towards the ends of each row offer slightly side on views. The section is all raked throughout although legroom is not brilliant compared to other venues. From row D-F the views are not as good as elsewhere in the house at the same price. The overhang of the Grand Circle begins to effect the view from rows E and F, with row G set behind the rest of the seats.
Boxes on this level do not provide good value for money, as a lot of the stage can be lost. The chairs are free standing, so you may be able to move around the get the best view.

Legroom in the Upper Circle isn't fantastic, and due to the shape of the section it can feel uncomfortable. Prices continue to get cheaper towards the back of the section, but seats at the end of each row should be avoided or chosen only when discounted. The four rows wrap around the balcony with some seats giving a side on view of the stage. Seats do feel far away from the stage, and can be affected by lighting equipment so the front row can sometimes have sight problems. The best seats are towards the centre of rows B and C, and you should try to sit as close to here as possible. The first and last seats of each row are often counted as 'restricted view' because of the curve of the balcony.

The balcony is divided into two sections, right and left. Seats are usually all priced the same, and those towards the centre offer the best value. A general safety rail runs along the balcony and can affect the view for shorter audience members, but the safety rails in front of rows B and D do not affect the view. Although you feel close to the celing of the theatre and seem very far from the action the overall view is pretty clear. Those looking for a bargain will be able to see the action, although feel far away.

A perfect example of how judicious planning can achieve an illusion of space on a very restricted site / One of the finest theatre interiors in London

Théâtre
West End Transfer

41) Life of Pi (The) (West End Transfer)

Joué durant 2 mois 3 semaines

Première preview: lun. 22 juin 2020
Première: jeu. 09 juillet 2020
Dernière: dim. 04 octobre 2020

Metteur en scène: Max Webster •
Chorégraphe:
Avec:

Commentaire: Lolita Chakrabarti's new stage adaptation of Yann Martel's Life of Pi is set to transfer tot he West End following a critically and commercially successful world premiere in Sheffield. (plus)

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Théâtre
Original

40) Leopoldstadt (Original)

Joué durant 4 mois

Première preview: sam. 25 janvier 2020
Première: mer. 12 février 2020
Dernière: lun. 13 janvier 2020

Metteur en scène: Patrick Marber •
Chorégraphe:
Avec: Sebastian Armesto, Jenna Augen, Rhys Bailey, Joe Coen, Mark Edel-Hunt, Clara Francis, Ilan Galkoff, Caroline Gruber, Sam Hoare, Natalie Law, Noof McEwan, Dorothea Myer-Bennett, Jake Neads, Aaron Neil, Alexander Newland, Yasmin Paige, Adrian Scarborough, Griffin Stevens, Ed Stoppard, Luke Thallon, Eleanor Wyld, Alexis Zegerman, Faye Castelow, Felicity Davidson, Avye Leventis, Sadie Shimmin, Toby Cohen, Zachary Cohen, Olivia Festinger, Tamar Laniado, Maya Larholm, Daniel Lawson, Louis Levy, Libby Lewis, Jack Meredith, Chloe Raphael, Beatrice Rapstone, Montague Rapstone, Jarlan Bogolubov, Ramsay Robertson and Joshua Schneider.

Commentaire: A brand new Tom Stoppard play titled Leopoldstadt, which is described as 'likely his most personal play'.
It will be Stoppard's first new play in almost five years, when The Hard Problem premiered at the National Theatre. (plus)

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Musical
Revival

39) Curtains (Revival)

Joué durant 4 semaines

Première preview: ven. 13 décembre 2019
Première: ven. 13 décembre 2019
Dernière: sam. 11 janvier 2020

Metteur en scène: Paul Foster •
Chorégraphe:
Avec: Jason Manford, Carley Stenson, Andy Coxon, Rebecca Lock, Samuel Holmes, Leah Barbara West, Alan Burkitt, Martin Callaghan, Emma Caffrey, Nia Jermin, Adam Rhys-Charles, Mark Sangster, Minal Patel, Kate Ivory Jordan, Charlie Johnson, Gleanne Purcell-Brown, Thomas-Lee Kidd, Samuel John-Humphreys, J.R. Ballentyne, Ore Oduba (from 6th January 2020).

Commentaire: The show first opened on Broadway in 2007, and was first seen in London in 2012 at the Landor Theatre in Clapham. It will get its West End premiere in December 2019. (plus)

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Théâtre
Original

38) Man In The White Suit (The) (Original)

Joué durant 2 mois

Première preview: ven. 27 septembre 2019
Première: mar. 08 octobre 2019
Dernière: sam. 07 décembre 2019

Metteur en scène: Sean Foley •
Chorégraphe:
Avec: Stephen Mangan, Kara Tointon, Sue Johnston, Richard Cordery, Richard Durden, Delroy Atkinson, Katie Bernstein, Ben Deery, Matthew Durkan, Rina Fatania, Oliver Kaderbhai, Eugene McCoy, Elliott Rennie and Katherine Toy.

Commentaire: A brand new stage adaptation of the classic 1950s film The Man in the White Suit, adapted and directed by Sean Foley, receiving its world premiere at the Wyndham’s Theatre. (plus)

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Théâtre

37) Life I Lead (The) ()

Joué durant

Première preview: lun. 16 septembre 2019
Première: lun. 16 septembre 2019
Dernière: sam. 21 septembre 2019

Metteur en scène: Selina Cadell • Didi Hopkins •
Chorégraphe:
Avec: Miles Jupp

Commentaire:

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Théâtre

36) Fleabag ()

Joué durant 2 semaines

Première preview: mar. 20 août 2019
Première: mer. 28 août 2019
Dernière: sam. 14 septembre 2019

Metteur en scène: Vicki Jones •
Chorégraphe:
Avec: Phoebe Waller-Bridge

Commentaire: Following a sold-out run in New York, Fleabag, Phoebe Waller-Bridge's award-winning comedic play, directed by Vicky Jones, comes home to London for 30 performances only from 20th August. (plus)

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Théâtre

35) Starry Messenger (The) ()

Joué durant 2 mois 1 semaine

Première preview: jeu. 16 mai 2019
Première: mer. 29 mai 2019
Dernière: sam. 10 août 2019

Metteur en scène: Sam Yates •
Chorégraphe:
Avec: Matthew Broderick, Elizabeth McGovern, Helen Barford, Edward Wolstenholme, Jim Norton, Rosalind Eleazar, Joplin Sibtain, Jenny Galloway, Sinead Matthews, Sid Sagar, Greg Baxter, Kerry Bennett

Commentaire:

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Théâtre
Revival

34) Price (The) (Revival)

Joué durant 2 mois 1 semaine

Première preview: mar. 05 février 2019
Première: lun. 11 février 2019
Dernière: mer. 24 avril 2019

Metteur en scène: Jonathan Church •
Chorégraphe:
Avec: David Suchet (Gregory Solomon), Brendan Coyle (Victor Franz), Adrian Lukis, Sara Stewart.

Commentaire:

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Théâtre
Revival

33) ** Hors DB Theatre (Revival)

Joué durant

Première preview: lun. 07 janvier 2019
Première: lun. 14 janvier 2019
Dernière: sam. 19 janvier 2019

Metteur en scène: Sean Foley •
Chorégraphe:
Avec:

Commentaire: The critically acclaimed, award-winning comedian and actor Catherine Tate, will bring THE CATHERINE TATE SHOW - LIVE to London's Wyndham's Theatre. (plus)

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Théâtre
Revival

32) Bill Bailey - Larks in Transit (Revival)

Joué durant 1 mois

Première preview: lun. 03 décembre 2018
Première: lun. 03 décembre 2018
Dernière: sam. 05 janvier 2019

Metteur en scène:
Chorégraphe:
Avec:

Commentaire: British Comedy Award winner Bill has enjoyed success on the live stage for many years. In 2001 he took his show Bewilderness to New York for an eight week run at the Westbeth Theatre. The New York Times wrote of him, "Bill is an unalloyed pleasure, a treat for the funny bone, the brain and the ear" and The Telegraph pronounced him "a hobbit with a wicked sense of humour". In 2004 he performed his show Part Troll at over fifty venues around the UK, culminating in an extended run at London's Wyndhams Theatre. In 2007 he embarked on a sold-out UK arena tour with his audio-visual, comedic extravaganza, Tinselworm. He took the show down under during the summer of 2008, touring Australia and New Zealand, before returning to London in December 2008 for a ten week run of the show at The Gielgud Theatre. The summer of 2009 saw Bill tour the UK once again with his live show, Bill Bailey Live. Last autumn, following his performances at London's Royal Albert Hall and the resulting critically acclaimed BBC2 television broadcast, Bill enjoyed a very successful UK tour of his musical comedy extravaganza, Bill Bailey's Remarkable Guide to the Orchestra. Performing alongside some of the UK's finest orchestras, the show provided fans with the opportunity to see Bill's surreal comic and musical imagination at its best and was described by The Telegraph as "a glorious achievement," The Guardian as "sublime hilarity" and Stephen Fry as "wonderfully enjoyable... like driving a Rolls-Royce off-road." Larks in Transit is a compendium of travellers' tales and the general shenanigans of twenty years as a travelling comedian. With musical virtuosity, surreal tangents and trademark intelligence, he tackles politics, philosophy, the pursuit of happiness, death metal, ringtones... and an excruciating encounter with Paul McCartney. Two decades of life as a comic filtered through what the Daily Telegraph calls 'the brainiest comic of his generation'.. (plus)

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Théâtre
Original London

31) Height of the Storm (The) (Original London)

Joué durant 1 mois 3 semaines

Première preview: lun. 01 octobre 2018
Première: mar. 09 octobre 2018
Dernière: sam. 01 décembre 2018

Metteur en scène: Jonathan Kent •
Chorégraphe:
Avec: Jonathan Pryce (Andre), Eileen Atkins (Dame - Madeline).

Commentaire:

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Théâtre
Revival

30) Red (Revival)

Joué durant 2 mois 2 semaines

Première preview: ven. 04 mai 2018
Première: mar. 15 mai 2018
Dernière: sam. 28 juillet 2018

Metteur en scène: Michael Grandage •
Chorégraphe:
Avec: Alfred Molina, Alfred Enoch

Commentaire: Alfred Molina reprises his role from the original Donmar production, for which he received a Tony Award nomination for Best Actor in a Play after the show’s New York transfer. Molina is best known for his roles in films such as Raiders of the Lost Ark, The Da Vinci Code and Chocolat. His stage roles include the original Broadway production of Art, and a revival of Fiddler on the Roof.

Alfred Enoch is known for playing the role of Dean Thomas in the Harry Potter film series, as well as a role in the NBC series How to Get Away With Murder. Enoch’s previous screen credits include Coriolanus at the Donmar Warehouse, Antigone at the National Theatre and Happy New at the Old Red Lion. (plus)

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Théâtre
Revival

29) Long Day's Journey Into Night (Revival)

Joué durant 2 mois

Première preview: jeu. 18 janvier 2018
Première: mar. 06 février 2018
Dernière: dim. 08 avril 2018

Metteur en scène: Richard Eyre •
Chorégraphe:
Avec: Jeremy Irons, Lesley Manville

Commentaire: The new production from the Bristol Old Vic in 2016 (plus)

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Théâtre
Original London

28) Heisenberg: The Uncertainty Principle (Original London)

Joué durant 2 mois 4 semaines

Première preview: mar. 03 octobre 2017
Première: lun. 09 octobre 2017
Dernière: sam. 06 janvier 2018

Metteur en scène: Marianne Elliott •
Chorégraphe:
Avec: Kenneth Cranham, Anne-Marie Duff

Commentaire: After acclaimed New York engagements off-Broadway in 2015 and on Broadway in 2016, Tony and Olivier Award-winning playwright Simon Stephens' compelling two-hander drama Heisenberg is set to make its West End premiere at the Wyndham's Theatre in October 2017. (plus)

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Musical
Original Europe

27) Lady Day at Emerson's Bar and Grill (Original Europe)

Joué durant 2 mois

Première preview: dim. 25 juin 2017
Première: mer. 05 juillet 2017
Dernière: dim. 03 septembre 2017

Metteur en scène: Lonny Price •
Chorégraphe:
Avec: Audra McDonald (Billie Holliday)

Commentaire:

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Théâtre
Revival

26) Don Juan in Soho (Revival)

Joué durant 2 mois 2 semaines

Première preview: ven. 17 mars 2017
Première: mar. 28 mars 2017
Dernière: sam. 10 juin 2017

Metteur en scène:
Chorégraphe:
Avec: David Tennant, Adrian Scarborough (Stan), Gawn Grainger (Louis), Theo Barklem-Biggs (Pete), Mark Ebulué (Aloysius), Mark Extance (ensemble), David Jonsson (Col), Dominique Moore (Lottie), Emma Naomi (ensemble), Alice Orr-Ewing (Mattie and Ruby), Himesh Patel (Vagabond), Adrian Richards (ensemble), William Spray (ensemble), Danielle Vitalis (Elvira) and Eleanor Wyld (Dalia)

Commentaire:

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Théâtre
Original London

25) Kite Runner (The) (Original London)

Joué durant 2 mois

Première preview: mer. 21 décembre 2016
Première: mar. 10 janvier 2017
Dernière: sam. 11 mars 2017

Metteur en scène: Giles Croft •
Chorégraphe:
Avec: Ben Turner

Commentaire: Based on Khaled Hosseini’s international best-selling novel, this powerful story has now been adapted into a stunning new stage production. A haunting tale of friendship which spans cultures and continents, it follows one man’s journey to confront his past and find redemption.

Having mesmerized audiences across the country, this production comes to the Wyndham’s Theatre for a strictly limited season from 21 December. (plus)

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Théâtre
Revival

24) No Man's Land (Revival)

Joué durant 2 mois 4 semaines

Première preview: jeu. 08 septembre 2016
Première: mar. 20 septembre 2016
Dernière: sam. 17 décembre 2016

Metteur en scène: Sean Mathias •
Chorégraphe:
Avec: Ian McKellen (Spooner), Patrick Stewart (Hirst), Owen Teale (Briggs), Damien Molony (Foster)

Commentaire: Following their hit run on Broadway, Ian McKellen and Patrick Stewart return to the UK stage in Sean Mathias’ acclaimed production of No Man’s Land, one of the most brilliantly entertaining plays by Nobel Prize laureate Harold Pinter. (plus)

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Théâtre
Original London