graphic logo  


L'événement culturel de l'été à Bruxelles!    

Retour à la page précédente



Musical (2000)


Musique: Dana P. Rowe
Paroles: John Dempsey
Livret: John Dempsey

Type de série: Original
Théâtre: Drury Lane Theatre (Londres - Angleterre)
Durée : 7 mois 1 semaine
Nombre : 255 représentations
Première Preview : samedi 24 juin 2000
Première : mardi 18 juillet 2000
Dernière : samedi 24 février 2001
Mise en scène : Eric Schaeffer
Chorégraphie : Bob Avian • Stephen Mear
Avec : Ian McShane (Daryll Van Horne), Lucie Arnaz (Alexandra Spofford), Joanna Riding (Jane Smart), Maria Friedman (Sukie Rougemont), Rosemary Ashe (Felicia Gabriel), Stephen Tate (Clyde Gabriel), Caroline Sheen (Jennifer Gabriel), Peter Jöback (Michael Spofford), Gee Williams (Fidel), Sarah Lark (Little Girl), Jasna Ivir (Gina Marino), Tim Walton (Joe Marino), Anne Marie McCormack (Gretta Neff), Kevin Wainwright (Raymond Neff), Lisa Peace (Marge Persley), Shaun Henson (Homer Persley), Earl Carpenter (Reverend Ed Parsley), Kathryn Akin (Brenda Parsley), Jocelyn Hawkyard (Rebecca Barnes), Nick Searle (Toby Bergman), Valda Aviks (Eudora Bryce), Matt Dempsey (Curtis Hallerbread), Scarlett Strallen (Mavis Jessup), Julia Sutton (Franny Lovecraft), Chris Holland (Frank Ogden), Alison Forbes (Mabel Ogden), Maurice Lane (Dr Henry Pattison), Jean McGlynn (Marcy Wills)
Commentaires : Based on John Updike’s novel and the film version starring Jack Nicholson, the musical version initially earned mostly positive reviews, but failed to fill the vast Drury Lane auditorium. After seven months it was replaced with a scaled-down version and moved to the more intimate Prince of Wales Theatre. A number of scenes were re-written and the song “Who's the Man?1” was replaced with a rousing gospel number, “The Glory of Me”. At the same time Ian McShane left and was replaced by his understudy, Earl Carpenter. At the end of its first year a general cast change saw Clarke Peters take over as Darryl van Home and Josefina Gabrielle and Rebecca Thornhill replaced Lucie Arnaz and Maria Friedman. On Oct 27th, 2001 the show closed after a 15 month run. There had been a disastrous drop in ticket sales, attributed to a downturn in tourism following the September 11th Twin-Towers attack in New York.
Presse : SHERIDAN MORLEY for TELETEXT says, "This is in every possible sense a magical show; written, composed, choreographed, designed, directed and played to within inches of perfection." He goes on to say, " The Witches of Eastwick is the musical that starts the 21st century, and it will be a hard act to follow."

EDWARD SECKERSON for THE INDEPENDENT, says "The enjoyment factor is high, the production values sky-high." He goes on to say it is a "likeable and beautifully mounted show".

MATT WOLF for REUTERS/VARIETY, also generally liked the show, saying, "As long as its leading ladies join forces vocally, not to mention aerially, the show flies.. As it happens, that's often enough to keep director Eric Schaeffer's production mostly airborne, despite some dead patches in the second act and a game if underpowered leading man..... When he's not attempting to sing or dance, McShane cuts an attractive roue who matches up perfectly to the ``bearish, dark man'' described in Updike's novel."

BENEDICT NIGHTINGALE for THE TIMES, says, "Dana P. Rowe's music remains refreshingly tuneful, whether it opts for the energetic and brash or for the soft and slightly soppy. John Dempsey's rhymes are never feeble or silly, though seldom very clever. But I caught myself wishing for a dash of Sondheim or Weill, a pinch more toughness and acerbity, along with the fingernails and frogs in the witches' brew."

NICHOLAS DE JONGH for THE EVENING STANDARD gave the show a mixed review saying, "Of the 20 songs, some inspiring frenetic choreography by Bob Avian and Stephen Mear, just one, the witty Dirty Laundry, boasts the impact of a hit. And Maria Friedman also plays powerful, poignant vocal gymnastics in Words, Words Words. But though Rowe's score achieves snatches of symphonic excitement and drama, this is a musical where the scenes between songs and music provide most of the fun and amusement."

ROBERT HEWISON for THE SUNDAY TIMES says,"There are many things to be enjoyed in The Witches of Eastwick."

MICHAEL BILLINGTON for THE GUARDIAN says, "Devil of a good sex fantasy set to music." He goes on to say "Ian McShane as the devil may not have all the best tunes but, after a long absence from the stage, he overflows with energy and a leering, saloon bar smuttiness." Billington goes on to say that "Maria Friedman is outstanding...Joanna Riding is also sharply funny."

SUSANNAH CLAPP for the OBSERVER says, "It's a bubbling cauldron, but it's not spellbinding. The Witches of Eastwick, the catchy and colourful new musical production from Sir Cameron Mackintosh, has lots to recommend it. What it lacks is an original pulse, and a dynamic leading man."

CHARLES SPENCER for THE DAILY TELEGRAPH says, "WHAT a relief. After a string of duds this year, the West End finally has a new musical worth making a song and dance about."


Top