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Théâtre (1594)

Livret: William Shakespeare

Type de série: Revival
Théâtre: Noel Coward Theatre (Londres - Angleterre)
Durée : 2 mois
Nombre :
Première Preview : samedi 07 septembre 2013
Première : mardi 17 septembre 2013
Dernière : samedi 16 novembre 2013
Mise en scène : Michael Grandage
Chorégraphie :
Avec : Sheridan Smith (Titania), David Walliams (Bottom), Susannah Fielding (Hermia), Katherine Kingsley (Helena), Stefan Adegbola (Robin Starveling/Cobweb), Stefano Braschi (Demetrius), Padraic Delaney (Oberon/Theseus), Richard Dempsey (Peter Quince/Moth), Henry Everett (Tom Snout/Peaseblossom), Gavin Fowler (Puck/Philostrate), Alex Large (Francis Flute/Mustardseed), Sam Swainsbury (Lysander), Craig Vye (Snug the Joiner/First Fairy), Leo Wringer (Egeus)
Presse : "The production – the penultimate in the Grandage Company's season at the Noel Coward Theatre – is, in the final analysis, a bit too tame, despite the hippies, to release the full wondrously disruptive power of the dream world or reverberate with the after-tremors of its transforming experience. It's undeniably attractive but the spell it casts is not deep."
Paul Taylor for The Independent

"This is an enormously spirited and fast-moving show....Grandage's production is sexy, swift and sure-footed, a constant delight to the eye and never lets us forget that this is a play about the magical capacity for change. "
Michael Billington for The Guardian

"I entered this fourth production in his [Michael Grandage] ambitious season of plays at the Noël Coward with high hopes, only to emerge feeling more than a little disappointed...pacing the show exceptionally fast. At times it feels almost perfunctory, not least in the performance of “Pyramus and Thisbe” which normally provides the play with a blissfully funny climax but here seems both rushed and curiously lacking in comic invention. Much of the problem, here and elsewhere, stems from David Walliams’s Bottom.He has always struck me as a curiously chilly comedian whereas Bottom the weaver should be all warmth, bluster and heart. "
Charles Spencer for The Daily Telegraph

"While the play’s dreamy quality is well realised, there’s not much sense of its darkness, and even in its sexier moments there is an air of efficiency rather than passion. This is a spirited and populist account of a perennial favourite, but it lacks magic."
Henry Hitchings for The Evening Standard