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Musical (1728)


Musique: *** Divers
Paroles: John Gay
Livret: John Gay

Type de série: Revival
Théâtre: Wilton's Music Hall (Londres - Angleterre)
Durée : 3 semaines
Nombre :
Première Preview : lundi 22 novembre 1999
Première : mercredi 24 novembre 1999
Dernière : samedi 18 décembre 1999
Mise en scène : Jonathan Miller
Chorégraphie :
Avec : Mike Burnside (Peachum), Buffy Davis (Mrs Peachum), Ali McGregor (Polly Peachum), Michael Feast (Macheath), Bianca Campbell (Jenny Diver), Tara Harrison (Lucy Lockitt), David Kincaid (Lockitt)
Commentaires : London’s second “Beggar’s Opera” in a month was judged to be another mish-mash and a tedious drawn-out failure, despite being directed by Jonathan Miller. The musical arrangements were odd - using accordion, banjo, guitar and swing bass; the interpolation of references to the Ride of the Valkyries, Over the Rainbow and similar (to replace Handel’s “Rinaldo” quotes) seemed inappropriate; and an attempt to set the piece in Victorian London but then have Macheath make his first entrance in a cowboy suit was mystifying. Casting the show with actors who were mostly not singers, and stretching the whole thing to a three hour performance was felt to have added to the general dismay.
Type de série: Revival
Théâtre: Wilton's Music Hall (Londres - Angleterre)
Durée : 3 semaines
Nombre :
Première Preview : mercredi 24 novembre 1999
Première : mercredi 24 novembre 1999
Dernière : samedi 18 décembre 1999
Mise en scène : Jonathan Miller
Chorégraphie :
Avec : Mike Burnside (Peachum), Buffy Davis (Mrs Peachum), Ali McGregor (Polly Peachum), Michael Feast (Macheathj, Bianca Campbell (Jenny Diver), Tara Harrison (Lucy Lockitt), David Kincaid (Lockitt)
Commentaires : London’s second “Beggar’s Opera” in a month was judged to be another mish-mash and a tedious drawn-out failure, despite being directed by Jonathan Miller. The musical arrangements were odd - using accordion, banjo, guitar and swing bass; the interpolation of references to the Ride of the Valkyries, Over the Rainbow and similar (to replace Handel’s “Rinaldo” quotes) seemed inappropriate; and an attempt to set the piece in Victorian London but then have Macheath make his first entrance in a cowboy suit was mystifying. Casting the show with actors who were mostly not singers, and stretching the whole thing to a three hour performance was felt to have added to the general dismay.


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