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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
thm-img

(750)    1899 - Actif

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*

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Infos complémentaires:

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

Life of Pi (The)
[22 juin 20 - 04 oct. 20]

Théâtre
West End Transfer

1) 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) 

Plus d'infos sur cette production:


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

23) Truth (The) (Original London)

Joué durant  2 mois 1 semaine

Première preview: mer. 22 juin 2016
Première: mer. 22 juin 2016
Dernière: sam. 03 septembre 2016

Metteur en scène: Lindsay Posner •  
Chorégraphe:  
Avec: Tanya Franks, Alexander Hanson, Frances O'Connor, Tanya Franks, Robert Portal 

Commentaire: Following last year’s phenomenal success of The Father by Florian Zeller (Theatre Royal Bath, Tricycle, Wyndham’s and Duke of York’s from February), the Chocolate Factory in association with Theatre Royal Bath is delighted to present the UK premiere of Zeller’s biting new play The Truth.  (plus) 

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Théâtre
West End Transfer

22) People, Places and Things (West End Transfer)

Joué durant  2 mois 3 semaines

Première preview: mar. 15 mars 2016
Première: mer. 23 mars 2016
Dernière: sam. 18 juin 2016

Metteur en scène: Jeremy Herrin •  
Chorégraphe:  
Avec: Denise Gough (Emma) 

Commentaire: Transfert depuis le National Theatre.  (plus) 

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Théâtre
West End Transfer

21) Hangmen (West End Transfer)

Joué durant  2 mois 4 semaines

Première preview: mar. 01 décembre 2015
Première: lun. 07 décembre 2015
Dernière: sam. 05 mars 2016

Metteur en scène: Matthew Dunster •  
Chorégraphe:  
Avec: Josef Davies, James Dryden, Johnny Flynn, Tony Hirst, John Hodgkinson, Bronwyn James, David Morrissey, Andy Nyman, Craig Parkinson, Ryan Pope, Sally Rogers and Simon Rouse. 

Commentaire: Productions and Royal Court Theatre Productions  (plus) 

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Théâtre
Original London

20) Father (The) (Original London)

Joué durant  1 mois 2 semaines

Première preview: mer. 30 septembre 2015
Première: lun. 05 octobre 2015
Dernière: sam. 21 novembre 2015

Metteur en scène: James MacDonald •  
Chorégraphe:  
Avec: Kenneth Cranham (Andre), Claire Skinner (Anne), Rebecca Charles 

Commentaire:   

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Théâtre
West End Transfer

19) King Charles III (West End Transfer)

Joué durant  4 mois 3 semaines

Première preview: mar. 02 septembre 2014
Première: jeu. 11 septembre 2014
Dernière: sam. 31 janvier 2015

Metteur en scène: Rupert Goold •  
Chorégraphe:  
Avec:  

Commentaire:   

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Théâtre
Revival

18) Oncle Vania (Revival)

Joué durant  1 semaine

Première preview: mer. 23 avril 2014
Première: jeu. 24 avril 2014
Dernière: sam. 03 mai 2014

Metteur en scène: Andrei Konchalovsky •  
Chorégraphe:  
Avec: Repertoire cast: Aleksandr Domogarov, Julia Vysotskaya, Pavel Derevyanko, Natalia Vdovina, Irina Kartasheva, Aleksandr Bobrovsky, Larisa Kuznetsova, Galina Bob, Vitaly Kistchenko, Anatoly Grishin, Vladas Bagdonas 

Commentaire: Joué en russe avec des sous-titres anglais.
En alternance avec "Les Trois Sœurs"  (plus) 

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Théâtre
Revival

17) Trois Sœurs (Les) (Revival)

Joué durant  1 semaine

Première preview: jeu. 24 avril 2014
Première: jeu. 24 avril 2014
Dernière: sam. 03 mai 2014

Metteur en scène: Andrei Konchalovsky •  
Chorégraphe:  
Avec: Repertoire cast: Aleksandr Domogarov, Julia Vysotskaya, Pavel Derevyanko, Natalia Vdovina, Irina Kartasheva, Aleksandr Bobrovsky, Larisa Kuznetsova, Galina Bob, Vitaly Kistchenko, Anatoly Grishin, Vladas Bagdonas 

Commentaire: Joué en russe avec des sous-titres anglais.
En alternance avec "Les Trois Sœurs"  (plus) 

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Théâtre
West End Transfer

16) Weir (The) (West End Transfer)

Joué durant  2 mois 3 semaines

Première preview: jeu. 16 janvier 2014
Première: mer. 22 janvier 2014
Dernière: sam. 19 avril 2014

Metteur en scène: Josie Rourke •  
Chorégraphe:  
Avec: Risteard Cooper (Finbar), Brian Cox (Jack), Dervla Kirwan (Valerie), Peter McDonald (Brendan), Ardal O’Hanlon (Jim) 

Commentaire: Following the critically acclaimed sell-out run at the Donmar Warehouse, The Weir will transfer to Wyndham’s Theatre for twelve weeks only, from 16 January 2014.  (plus) 

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Théâtre
Revival

15) Barking in Essex (Revival)

Joué durant  3 mois 2 semaines

Première preview: ven. 06 septembre 2013
Première: lun. 16 septembre 2013
Dernière: sam. 04 janvier 2014

Metteur en scène: Harry Burton •  
Chorégraphe:  
Avec: Lee Evans (Darnley), Sheila Hancock (Emmie), Keeley Hawes (Chrissie), Karl Johnson (Rocco), Montserrat Lombard (Allegra) 

Commentaire:   

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Musical
Reprise

14) Dreamboats and Petticoats (Reprise)

Joué durant  3 mois

Première preview: mar. 16 octobre 2012
Première: mar. 16 octobre 2012
Dernière: sam. 19 janvier 2013

Metteur en scène: Bob Tomson •  
Chorégraphe: Carole Todd •  
Avec:  

Commentaire: 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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Théâtre
Original

13) King's Speech (The) (Original)

Joué durant  1 mois 2 semaines

Première preview: jeu. 22 mars 2012
Première: mar. 27 mars 2012
Dernière: sam. 12 mai 2012

Metteur en scène: Adrian Noble •  
Chorégraphe:  
Avec: Charles Edwards (King George VI), Jonathan Hyde ( Lionel Logue), Emma Fielding (Queen Elizabeth), Ian McNeice (Winston Churchill), Michael Feast (Cosmo Lang), Joss Ackland (King George V), Charlotte Randle (Myrtle Logue), David Killick (Stanley Baldwin), Daniel Betts (King Edward VIII) 

Commentaire:   

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Théâtre
Revival

12) Driving Miss Daisy (Revival)

Joué durant  2 mois 1 semaine

Première preview: lun. 26 septembre 2011
Première: mer. 05 octobre 2011
Dernière: sam. 17 décembre 2011

Metteur en scène: David Esbjornson •  
Chorégraphe:  
Avec: Vanessa Redgrave (Daisy Werthan), James Earl Jones (Hoke Coleburn), Boyd Gaines (Boolie Werthan) 

Commentaire:   

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Théâtre
West End Transfer

11) Clybourne Park (West End Transfer)

Joué durant  2 mois 3 semaines

Première preview: ven. 28 janvier 2011
Première: mar. 08 février 2011
Dernière: sam. 07 mai 2011

Metteur en scène: Dominic Cooke •  
Chorégraphe:  
Avec: Stuart McQuarrie (Russ / Dan ), Stephen Campbell Moore (Karl / Steve ), Lorna Brown (Francine/Lena), Sarah Goldberg (Betsy / Lindsey), Lucian Msamati (Albert / Kevin), Sam Spruell (Jim / Tom) , Sophie Thompson (Betsy / Lindsey), Michael Goldsmith (Kenneth) 

Commentaire: A Transfer from the Royal Court Downstairs  (plus) 

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Musical
Original London

10) Avenue Q (Original London)

Joué durant  7 mois 2 semaines

Nb de représentations: 219 représentations
Première preview: ven. 19 mars 2010
Première: ven. 19 mars 2010
Dernière: sam. 30 octobre 2010

Metteur en scène: Tom Moore •  
Chorégraphe: Ken Roberson •  
Avec:  

Commentaire:   

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Théâtre

9) History Boys (The) ()

Joué durant  4 mois 1 semaine

Première preview: jeu. 20 décembre 2007
Première: jeu. 20 décembre 2007
Dernière: sam. 26 avril 2008

Metteur en scène: Nicholas Hytner •  
Chorégraphe: Aucun •  
Avec:  

Commentaire: Best Play - Evening Standard Award & Critics' Circle Award / Best New Play - Laurence Olivier Award / Best Actor - Richard Griffiths - Evening Standard Award, Critics' Circle Award and Laurence Olivier Award / Samuel Barnett won Best Newcomer & Best Supporting Actor in a play at the Whatsonstage.com Theatregoers Choice Awards / Best Director - Nicholas Hytner - Laurence Olivier Award
Plusieurs séries de représentations:
> Lyttelton (8/5/2004 - 26/04/2005) 222 représ devant 197.605 spect
> UK Tour 1 (23/9/2005 - 26/11/2005)
> Lyttelton (2/12/2005 - 1/2/2006) 99 représ devant 52.212 spect
> UK Tour 2 (31/8/2006 - 25/11/2006)
> Wyndham's Theatre (21/12/2006 - 14/7/2007)
> UK Tour 3 (6/9/2007 - 17/11/2007)
> Wyndham's Theatre (20/12/2007 - 26/4/2008)  (plus) 

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Théâtre
Revival

8) History Boys (The) (Revival)

Joué durant  3 mois 1 semaine

Première preview: jeu. 21 décembre 2006
Première: mer. 03 janvier 2007
Dernière: sam. 14 juillet 2007

Metteur en scène: Nicholas Hytner •  
Chorégraphe: Aucun •  
Avec: Stephen Moore (Hector), Isla Blair (Mrs Lintott), William Chubb (Headmaster), Orlando Wells (Irwin), Owain Arthur (Dakin), Philip Correia (Rudge), Marc Elliott, Thomas Morrison (Scripps), Akemnji Ndifornyen, David Poynor and Steven Webb (Posner); Ben Allen, Tina Gray, Derek Howard, Duncan Patrick, Stephen Uppal.
Review 

Commentaire: Best Play - Evening Standard Award & Critics' Circle Award / Best New Play - Laurence Olivier Award / Best Actor - Richard Griffiths - Evening Standard Award, Critics' Circle Award and Laurence Olivier Award / Samuel Barnett won Best Newcomer & Best Supporting Actor in a play at the Whatsonstage.com Theatregoers Choice Awards / Best Director - Nicholas Hytner - Laurence Olivier Award
Plusieurs séries de représentations:
> Lyttelton (8/5/2004 - 26/04/2005) 222 représ devant 197.605 spect
> UK Tour 1 (23/9/2005 - 26/11/2005)
> Lyttelton (2/12/2005 - 1/2/2006) 99 représ devant 52.212 spect
> UK Tour 2 (31/8/2006 - 25/11/2006)
> Wyndham's Theatre (21/12/2006 - 14/7/2007)
> UK Tour 3 (6/9/2007 - 17/11/2007)
> Wyndham's Theatre (20/12/2007 - 26/4/2008)  (plus) 

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Revival

7) Sunday in the Park with George (Revival)

Joué durant  3 mois 1 semaine

Première preview: sam. 13 mai 2006
Première: mar. 23 mai 2006
Dernière: sam. 02 septembre 2006

Metteur en scène: Sam Buntrock •  
Chorégraphe:  
Avec: Daniel Evans (George), Jenna Russell (Dot), Gay Soper, Joanne Redman, Simon Green, Liza Sadovy, Alasdair Harvey, Christopher Colley, Sarah French Ellis, Kaisa Hammarlund, Mark McKerracher 

Commentaire: Fifteen years after its coolly received National Theatre premiere, this fringe production had almost all the critics reaching for their superlatives. With a small cast, a five-piece band and its ambitious production techniques and computer graphics, this show was visually and technically breathtaking. And with the brilliant central performances from Daniel Evans, Anna Jane Casey and Gay Soper it was hailed as unforgettable, with several critics deciding it was a Sondheim masterpiece.
Its major achievement seems to be welding the two separate acts together – earlier critics had claimed this was two separate shows, with no real link between the 1880s Paris of Seurat and the 1980s USA of his (fictional) grandson. The production transferred to Wyndhams Theatre in May 2006 and ran until September 2nd . It had the same principal cast, except Jenna Russell replaced Anna Jane Casey who was unavailable. It won five Olivier Awards, including Outstanding Musical Production, Best Actor in a Musical and Best Actress in a Musical. The production was re-created for a limited engagement on Broadway between January and June 2008, again with Daniel Evans and Jenna Russell.  (plus) 

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West End Transfer

6) Democracy (West End Transfer)

Joué durant  5 mois 3 semaines

Première preview: ven. 16 avril 2004
Première: mar. 20 avril 2004
Dernière: sam. 09 octobre 2004

Metteur en scène: Michael Blakemore •  
Chorégraphe:  
Avec: Roger Allam (Willy Brandt); Conleth Hill (Gunter Guillaume), Simon Chandler (Horst Ehmke), Michael Simkins (Arno Kretschmaan), Nicholas Blane, Paul Broughton, Christopher Ettridge, Paul Gregory, Glyn Grain, David Ryall 

Commentaire: Ce spectacle créé au Cottelsoe Theatredu NT en août 2003, est repris au Lyttelton Theatre du NT en février 2004 avant d'être ttransféré dans le West End, au Wyndham's Theatre en avril 2004, pendant 6 amois!  (plus) 

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Musical
Revival

5) Over my Shoulder (Revival)

Joué durant  1 semaine

Première preview: lun. 27 octobre 2003
Première: mar. 28 octobre 2003
Dernière: sam. 08 novembre 2003

Metteur en scène: Stewart Nichols •  
Chorégraphe: Stewart Nichols •  
Avec: Anne Rogers (Jessie Matthews), Jo Gibb (Young Jessie), Abigail Langham (Rosie Matthews/Sheilah Graham), Oliver Thompsett (Fred Astaire/Harty Lytton), Gavin Lee (Sonnie Hale), Duncan Wisbey (C.B. Cochran/ Bing Crosby/Noel Coward), Ben Stock, Michael Cotton, Daniel Fine 

Commentaire: This was a re-written and enlarged version of the show which had first been performed at the Jermyn Street Theatre in November 2001, and had been touring at various points throughout 2002. It had played a week at the Greenwich Theatre in May 2002 but now had the opportunity to come into the West End. Wyndham’s Theatre was suddenly empty due to the collapse of Michael Barrymore’s come-back show and this show was available to fill the gap. It was a strictly limited two week run. There was a certain nostalgia and theatrical history about this performance - Anne Rogers had first come to stardom exactly fifty years earlier at this very theatre (in “The Boy Friend”)  (plus) 

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Musical
Original

4) Café Puccini (Original)

Joué durant  1 mois 1 semaine

Première preview: Inconnu
Première: mer. 12 mars 1986
Dernière: sam. 19 avril 1986

Metteur en scène: Christopher Renshaw •  
Chorégraphe:  
Avec: Lewis Fiander (Puccini), Nicola McAuliffe, Charles West, Terence Hillyer, Jacinta Mulcahy, Maurice Clarke 

Commentaire: Apart from Lewis Fiander as Puccini, all the other performers played several roles each and also sang a number of arias accompanied by a seven piece orchestra. They were actors, not opera singers, and the end results were a little worrying to most critics. No one was quite sure at whom this show was aimed: opera enthusiasts hated what was being done to the music, non-opera buffs resented the story being interrupted with disconnected arias. It closed within a month.  (plus) 

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Original

3) Side by Side by Sondheim (Original)

Joué durant  

Première preview: mer. 07 juillet 1976
Première: mer. 07 juillet 1976
Dernière: Inconnu

Metteur en scène: Ned Sherrin •  
Chorégraphe:  
Avec: Millicent Martin, Julia McKenzie, David Kernan, Ned Sherrin [narrator] 

Commentaire: Opened May 4, 1976 at the Mermaid Theatre, London Ran for 59 performances
Moved July 7, 1976 to the Wyndham's Theatre, London Ran for 518 performances
Moved October 3, 1977 to the Garrick Theatre, London Closed April 29, 1978; Ran for 229 performances  (plus) 

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Musical
Original London

2) Godspell (Original London)

Joué durant  

Première preview: mer. 26 janvier 1972
Première: mer. 26 janvier 1972
Dernière: Inconnu

Metteur en scène: Jean-Michel Tebelak •  
Chorégraphe:  
Avec: David Essex (Jesus), Jeremy Irons (Judas), Verity-Anne Meldrum, Marti Webb, Tony Jackson, Mandy More, Derek Parkyn, Tom Saffery, Gay Soper 

Commentaire: With exactly the same theme as the contemporary “Jesus Christ Superstar”, this show aimed at absolute simplicity and a “Hippie”-feel as opposed to the heavy rock of JCS. Both achieved great success, but surprisingly “Godspell” attracted very little religious opposition whereas JCS received howls of protest. The show had transferred from the Roundhouse.  (plus) 

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Musical
Original

1) Boy Friend (The) (Original)

Joué durant  

Nb de représentations: 2084 représentations
Première preview: jeu. 14 janvier 1954
Première: jeu. 14 janvier 1954
Dernière: Inconnu

Metteur en scène: Cy Feuer •  
Chorégraphe:  
Avec: Joan Sterndale Bennett (Madame Dubonnet), Violetta (Hortense), Denise Hirst (Maisie), Maria Charles (Dulcie), Joan Gadson (Fay), Juliet Hunt (Nancy), Anne Rogers (Polly Browne), Stephen Warwick (Marcel), Jack Thomson (Pierre), Geoffrey Webb (Alphonse) 

Commentaire: The musical's original 1954 London production ran for 2,078 performances, making it briefly the third-longest running musical in West End or Broadway history (after Chu Chin Chow and Oklahoma!) until it was surpassed by Salad Days.  (plus) 

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