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Musical (1956)


Musique: Leonard Bernstein
Paroles: Richard Wilbur
Livret: Lillian Hellman

Type de série: Original Broadway
Théâtre: Al Hirschfeld Theatre (Broadway - Etats-Unis)
Durée : 2 mois
Nombre : 73 représentations
Première Preview : Inconnu
Première : samedi 01 décembre 1956
Dernière : samedi 02 février 1957
Mise en scène : Tyrone Guthrie
Chorégraphie : Anna Sokolow
Avec : Max Adrian (Dr. Pangloss, Martin), Barbara Cook (Cunegonde, Scrub Lady), Robert Rounseville (Candide), Robert Mesrobrian (Baron, Prince Ivan), Louis Edmonds (Maximillian), Conrad Bain (King of Hesse, Very, Very Old Inquisitor, Captain), Norman Roland (Hesse’s General, Prefect of Police), Boris Aplon (Man, Marquis Milton), Doris Okerson (Woman), Margaret Roy (Dutch Woman, Grocery Lady, Beggar), Tony Drake (Dutch Man), Robert Rue (Atheist, Bear Man, Pilgrim Father), Robert Barry (Arab Conjuror), Maria Novotna (Infant Casmira), William Chapman (Lawyer, Ferone), Charles Aschmann (Very Old Inquisitor, Alchemist, Duke of Naples), Robert Cosden (Junkman, Beggar), Stanley Grover (Wine Seller), Charles Morrell (Bear), Thomas Pyle (Beggar, Officer, Lady Richmond), Maud Scheerer (French Lady, Duchess), Irra Petina (Old Lady, Madame Sofronia), Joseph Bernard (Sultan Milton), Dorothy Krebill (Pilgrim Mother), William Olvis (Governor of Buenos Aires), George Blackwell (Officer, Lady Toothly), Tony Drake (Officer), Robert Barry (Croupier), Dori Davis (Lady Cutely), Fred Jones (Lady Soothly); Singers: Peggyann Alderman, Charles Aschmann, Robert Barry, George Blackwell, Dori Davis, Jack DeLon, Tony Drake, Naomi Farr, Stanley Grover, Fred Jones, Mollie Knight, Dorothy Krebill, Vivian Laurence, Henry Lawrence, Robert Mesrobian, Lois Monroe, Doris Okerson, Thomas Pyle, Margaret Roy, Robert Rue, Mara Shorr, Dorothy White; Dancers: Alvin Beam, Charles Czarny, Marvin Gordon, Carmen Gutierrez, Charles Morrell, Frances Noble, Liane Plane, Gloria Stevens
Presse : “When Voltaire is ironic and bland, [Hellman] is explicit and vigorous. When he makes lightning, rapier thrusts, she provides body blows. Where he is diabolical, [she] is humanitarian ... the libretto ... seems too serious for the verve and mocking lyricism of Leonard Bernstein's score which, without being strictly 18th century, maintains, with its gay pastiche of past styles and forms, a period quality.”


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