Londres
Dominion Theatre
Londres - Angleterre
Construction: 1929
Topologie du théâtre
Nombre de salles actives: 1
Salle 1: (2137) 1929 - Actif
Accès
En métro: Tottenham Court Road. (Northern & Central Lines)
En bus: 7, 8, 10, 14, 19, 24, 25, 29, 38, 55, 73, 98, 176
Adresse: 268-269 Tottenham Court Road, London, W1T 7AQ
Evolution
Bâtiment: The Dominion was built in 1928–29, designed by W and TR Milburn with a steel-framed construction and a concave Portland stone facade. Although the Dominion wasn't designed as a Cinema, its early failure as a live Theatre meant that in 1930, just a year after opening, the Theatre was converted to one. The Theatre has had many alterations over the years and gradually various parts of it were converted to offices and such like. In 1958 the Upper Circle was closed, never to open again, so far anyway. The Dominion was converted back to live Theatre use in 1981.
Nom:
Propriétaire(s)
Nederlander Organization
Remarquable
The Dominion’s place In the evolution of planning and decorative detailing - The building's lattice-girder and concrete construction.
2137
1929 - Actif
St Giles High Street, once the site of a gallows, and the junction of Oxford Street, New Oxford Street, Tottenham Court Road and Charing Cross Road are dominated by Centre Point, a controversial landmark office block designed by Richard Slefert and Partners in 1971. At the end of the 19th century the major buildings in the immediate vicinity were Henry Meux's Horseshoe Brewery, established in 1809, which occupied a large plot on the northeast comer of the crossroads and, to a lesser degree, the famous Oxford Music Hall, situated on the opposite, northwestern comer. The brewery was demolished in 1922 and the company, by then Friary Meux, was absorbed into Allied Breweries.
In 1926 the Casino Company proposed to build a theatre on the prominent corner site formerly occupied by the brewery - part of which had, since 1915, been occupied by the Court Cinema- but in late 1927, before a cost-effective scheme could be drawn up, the company was dissolved. Almost immediately Dominion Theatres Ltd, an offshoot of Moss Empires, submitted an application to the London County Council for permission to build a theatre with a capacity approaching 3,500. Their chosen architects were the brothers William and Thomas Ridley Milbum, who, from their base in Sunderland, had established a large practice in northeastern England and were already involved with Moss Empires in that region. In 1897, in partnership with Frank Matcham, they designed the Empire Palace, South Shields, on the site of Thornton’s Theatre of Varieties. (Only a fragment of the Empire survives today.) A regular flow of theatre commissions followed, mainly around Sunderland and Newcastle upon Tyne, culminating in the neo-classical Dominion. This style option was inevitably judged by architectural pundits alongside the modem, streamlined, Art Deco super-cinemas of the period, such as the New Victoria, Westminster, by E. Wamsley Lewis and the Forum by A. Ernest Shennans, or theatres, including the Adelphi and the Strand, by Ernest Schaufelberg; and it was harshly treated by the comparison. It is not that the Milburns were in any way architectural Luddites; they were certainly not. They were, however, working through a transitional period in theatre design, when architects were slightly confused and tended to use 'old- fashioned' detail in 'forward-looking' buildings: thus they incorporated the up-to-date grand fanned plan, with sweeping ranks of curved seating, and the backward-looking ornamentation of much contemporary cinema building.
The design of the theatre was beautifully contrived by the architects to maximize the use of special lighting effects, both outside, on the narrow three-bay Portland-stone frontage, and within the building. The transition from the pavement to the grand entrance foyer is dramatic, confronting the entrant immediately with the fine marble and silvered double staircase rising up to the dress circle. The survival of the original suspended pink glass lighting fixtures in both the foyer and the auditorium is remarkable. Today burgundy and gold are the decorative colours In the auditorium, but on the opening night blue and silver presented a wonderful shimmering effect to the audience, contrasting with an act-drop curtain of rainbow colours. Sumptuous lounges, retiring rooms and bars catered for the needs of the patrons, In December 1928 the Architect and Building News singled out the theatre as representing a high water mark in modern construction, praising the Ingenious use of a lattice- girder system to obviate the need for annoying columns inside the auditorium, but criticizing the use of outmoded decoration within the building.
The theatre opened on 3 October 1929, and In September 1930 an application to convert to cinema use was submitted and approved, allowing British International Pictures Ltd to put on performances continuously from 6 October that same year. In 1957 live shows were reintroduced into the theatre, interspersed with films. In 1958, Todd AO wide-screen projectors were installed, and on 21 April 1958 South Pacific opened for a record- breaking run of four and a half years, followed by Cleopatra in 1963. The Dominion reverted to continuous theatre use in 1981, since when it has provided a broad spectrum of mainly musical entertainment, from Time with Cliff Richard (1988), Grease (1993), Scrooge (1996) and Notre-Dame de Paris (2000). We will Rock You (2002) is now in its ninth year and has been extended indefinitely.
The Dominion was built in 1928–29, designed by W and TR Milburn with a steel-framed construction and a concave Portland stone facade. Although the Dominion wasn't designed as a Cinema, its early failure as a live Theatre meant that in 1930, just a year after opening, the Theatre was converted to one. The Theatre has had many alterations over the years and gradually various parts of it were converted to offices and such like. In 1958 the Upper Circle was closed, never to open again, so far anyway. The Dominion was converted back to live Theatre use in 1981.
Infos complémentaires:
The Stalls are divided into four separate blocks by vertical aisles running the whole length of the theatre. The auditorium feels gigantic, with almost 30 rows of seats and a maximum of 50 seats per row in the rear section. The rows widen towards the rear section creating a number of sight problems for those sat at either end of each row.The two central blocks are the best to sit in due to their proximity to the stage and clear sight lines. The auditorium is well raked, meaning that even seats which are further back have a good view of the action. The stage is set quite high, and so the first couple of rows should be avoided for those who do not wish to crane their necks looking whilst watching the show.
The Dress Circle overhang occurs a third of the way back, meaning in the rear third of the Stalls the top of the stage cannot be seen. There are no particular obstructions in this section, meaning most seats offer a clear view. For a cheaper alternative, seats towards the sides may be better value for money, giving an angled view of the show. The rows are built on a slight curve around the orchestra pit, but this doesn't create any particular problems.
The Dress Circle is divided into two main sections by a wide aisle running the width of the auditorium, creating a front and back section. Smaller aisles divide the seating up further into 8 smaller sections which make the space feel more manageable, and not as vast as the Stalls. The best seats in this section are in the two centre blocks, avoiding the front row if you are taller and require more legroom.
The seats are quite heavily raked so visibility is rarely impaired. Each row follows a curve which in the main does not create many problems due to the size of the stage. Due to the scale of the current show, even seats towards the back are effective but the back corner sections should be selected last. Seats nearest the aisle in the rear section suffer due to the safety rails which run along the stairwells. These can make these seats restricted view, unless you are able to negotiate them by looking over or under. Only select these seats when discounted.
The Dominion’s place In the evolution of planning and decorative detailing - The building's lattice-girder and concrete construction.
Musical
Revival
26) (Revival)
Joué durant 4 mois 4 semaines
Première preview: 02 June 2023
Première: 02 June 2023
Dernière: 28 October 2023
Compositeur: Jim Jacobs • Warren Casey •
Parolier: Jim Jacobs • Warren Casey •
Libettiste: Jim Jacobs • Warren Casey •
Metteur en scène: Nikolai Foster •
Chorégraphe: Arlene Philips •
Avec: Louise Redknapp (Teen Angel until Jul 29 excluding Mon), Dan Partride (Danny), Olivia Moore (Sandy), Jocasta Almgill (Rizzo)
Commentaire:
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Musical
Revival
25) Dirty Dancing (Revival)
Joué durant 3 mois 1 semaine
Première preview: 18 January 2023
Première: 18 January 2023
Dernière: 29 April 2023
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: Eleanore Bergstein •
Metteur en scène: Federico Bellone •
Chorégraphe:
Avec: Michael O’Reilly, Kira Malou, Charlotte Gooch, Georgina Castle, Lynden Edwards, Jackie Morrison, Colin Charles, Michael Remick, Tony Stansfield, Joel Benjamin, Chrissy Brooke, Shaquille Brush, Inez Budd, Morgan Burgess, Charlotte Coggin, Danny Colligan, Alastair Crosswell, Callum Fitzgerald, Christopher Fry, Lily Laight, Hollie-Ann Lowe, Ben Middleton, Carly Miles, Ayden Morgan, Tom Mussell, Lee Nicholson, Tom Parsons, Miles Russell, Nathan Ryles, Lydia Sterling
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Musical
Original
24) Fermeture COVID (Original)
Joué durant 1 an 4 mois
Première preview: 16 March 2020
Première: 16 March 2020
Dernière: 19 July 2021
Compositeur:
Parolier:
Libettiste:
Metteur en scène:
Chorégraphe:
Avec:
Commentaire: Tous les théâtres anglais ont dû fermer dès le 16 mars 2020 suite à la pandémide de COVID… (plus)
Presse:
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Musical
Original London
23) Prince of Egypt (The) (Original London)
Joué durant 6 mois 2 semaines
Première preview: 05 February 2020
Première: 25 February 2020
Dernière: 12 September 2020
Compositeur: Stephen Schwartz •
Parolier: Stephen Schwartz •
Libettiste: Philip LaZebnik •
Metteur en scène: Scott Schwartz •
Chorégraphe: Sean Cheesman •
Avec: Luke Brady, Liam Tamne, Alexia Khadime, Christine Allado, Joe Dixon, Debbie Kurup, Gary Wilmot, Adam Pearce, Tanisha Spring Silas Wyatt-Barke, Mercedesz Csampai, Simbi Akande, Casey Al-Shaqsy, Joe Atkinson, Danny Becker, Felipe Bejarano, Pàje Campbell, Adam Filipe, Soophia Foroughi, Natalie Green, Jack Harrison-Cooper, Rachael Ireson, Kalene Jeans, Christian Knight, Jessica Lee, Oliver Lidert, Jay Marsh, Scott Maurice, Carly Miles, Sam Oladeinde, Alice Readie, Christopher Short, Ricardo Walker, Danny Williams, Niko Wirachman and Sasha Woodward.
Commentaire: While the musical received a reading in London in early 2019, it has previously been staged in North America in 2017, with a run at TheatreWorks in California. The musical will feature 10 brand new song, and will include "When You Believe". (plus)
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Musical
Revival
22) White Christmas (Revival)
Joué durant 1 mois 1 semaine
Première preview: 16 November 2019
Première: 25 November 2019
Dernière: 04 January 2020
Compositeur: Irving Berlin •
Parolier: Irving Berlin •
Libettiste: David Ives • Paul Blake •
Metteur en scène: Nikolai Foster •
Chorégraphe: Stephen Mear •
Avec: Danny Mac (Bob Wallace), Dan Burton (Phil Davis), Michael Brandon (General Henry Waverly), Brenda Edwards (Martha Watson), Danielle Hope (Betty Haynes), Clare Halse (Judy Haynes), Stephane Anelli, Delycia Belgrave, Sophie Camble, Matthew Caputo, Jordan Crouch, Aimee Hodnett, Michael Lin, Robbie McMillan, Jo Morris, Oliver Ramsdale, Erin Rushidi, Kayleigh Thadani, Sion Tudor Owen, Alexandra Waite-Roberts, Sasha Walters, Matthew Whennell-Clark, Jack Wilcox, Anna Woodside, Freya Yates.
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Musical
Original London
21) Big (Original London)
Joué durant 1 mois 2 semaines
Première preview: 10 September 2019
Première: 17 September 2019
Dernière: 02 November 2019
Compositeur: David Shire •
Parolier: Richard Jr Maltby •
Libettiste: John Weidman •
Metteur en scène: Morgan Young •
Chorégraphe: Morgan Young •
Avec: Jay McGuiness, Wendi Peters, Kimberley Walsh, Matthew Kelly, Lori Haley Fox, Edward Handoll, Harrison Dadswell, Jamie O’Connor, Jake Simon, Jobe Hart, Austen Phelan, Theo Wilkinson, Charlie Bull, Colin Burnicle, Christie-Lee Crosson, Vicki Davids, Alex Fobbester, Leanne Garretty, Stuart Hickey, Matt Holland, Tash Holway, Ross McLaren, Richard Murphy, Eddie Myles, Katharine Pearson, Anton Fosh, Gemma Fuller, Gary Murphy, Katy Osborne, Olufemi Alaka, Coco Cousin-Brown, Asher Ezeguiel, Ellis Griffiths, Imogen Law Hing Choy, Noah Leggott, Amaya Lucas, Cassia McCarthy, Ophelia Parsons, Bailey Razdan, Lucinda Wicks and Chanel Zinyemba.
Commentaire: Big the Musical was - in a pre-Spiderman: Turn Off the Dark and King Kong - one of the costliest Broadway flop musicals ever staged at the time of its 1996 premiere, losing the entirety of its $10.3m investment when it shut after just six months, after failing to be nominated for that year's Tony Award for best musical.
Even though it had a British director - the late, great Mike Ockrent (whose hits included Me and My Girl and Crazy for You on both sides of the Atlantic), working with the choreographic genius that is Susan Stroman (by then, also his wife) - at the helm, it never transferred to the UK; but twenty years later a new production started kicking around the regions, newly directed and choreographed by Morgan Young, receiving its British premiere at the Theatre Royal Plymouth in 2016 before a season in Dublin. (plus)
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Musical
Reprise
20) Bat Out of Hell (Reprise)
Joué durant 8 mois 3 semaines
Première preview: 02 April 2018
Première: 19 April 2018
Dernière: 05 January 2019
Compositeur: Jim Steinman •
Parolier: Jim Steinman •
Libettiste: Jim Steinman •
Metteur en scène: Jay Scheib •
Chorégraphe: Emma Portner •
Avec: Andrew Polec (Strat), Christina Bennigton (Raven), Rob Fowler (Falco), Danielle Steers (Zahara), Sharon Sexton (Sloane), Giovanni Spano (Ledoux), Patrick Sullivan (Blake), Emily Benjamin, Georgia Carling, Natalie Chua, Jonathan Cordin, Hannah Ducharme, Isaac Edwards, Aston Newman Hannington, Eve Norris, Courtney Stapleton, Alex Thomas-Smith (Tink), Wayne Robinson (Jagwire), Kyle Anthony, Christopher Cameron, Rob Copeland, Collette Guitart, Eric Hallengren, Vicki Manser, Rhianne-Louise McCaulsky, Joseph Peacock, Kyle Roberts, Craig Ryder, Dawnita Smith, Julie Stark, Charlotte Anne Steen, Sam Toland, Simon Gordon (Strat - some dates), Jordon Gage (Strat - some dates).
Commentaire: The production opened at the Manchester Opera House in 2017, and transferred to the London Coliseum in June. After a run in Toronto, Canada, the musical has announced it would be returning to London in 2018, at the Dominion Theatre. (plus)
Presse: ‘LOUD, EXHILARATING AND BLOWS YOUR SOCKS OFF’ The Independent
‘A JAW-DROPPING SPECTACLE’ Evening Standard
‘I CAN’T REMEMBER WHEN I LAST SAW A STANDING OVATION AT THE INTERVAL’ The Sunday Times
‘A CRAZY WILD CHILD OF A ROCK’N’ROLL MUSICAL’ The Times
‘A NIGHT THAT WILL MAKE YOUR JAW DROP, YOUR HEART SOAR AND HAVE YOU SINGING ALONG’ WhatsOnStage
‘Astonishing...THRILLING’ The Guardian
‘ON EVERY LEVEL THE MUSICAL IS A REMARKABLE TRIUMPH’ Music Week
‘HELLISHLY HARD TO RESIST’’ The Daly Telegraph
‘ENOUGH ELECTRICITY BETWEEN THE YOUNG LOVERS ALONE TO BLAST THE ROOF OFF THIS GLORIOUS THEATRE’ The Mail on Sunday
‘A GLORIOUS, RIDICULOUS, INSANELY ENJOYABLE NIGHT OUT’ WhatsOnStage
‘BRINGS THE THEATRE AND ITS AUDIENCE THRILLINGLY ALIVE’ The Stage
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Musical
Original London
19) An American in Paris (Stage) (Original London)
Joué durant 9 mois 1 semaine
Première preview: 04 March 2017
Première: 01 April 2017
Dernière: 06 January 2018
Compositeur: George Gershwin •
Parolier: Ira Gershwin •
Libettiste: Craig Lucas •
Metteur en scène: Christopher Wheeldon •
Chorégraphe: Christopher Wheeldon •
Avec: Robert Fairchild (Jerry Mulligan), Leanne Cope (Lise Dassin)
Commentaire: An American in Paris features music by George Gershwin, lyrics by Ira Gershwin and a book by Craig Lucas. The stage production had its world premiere at the Théâtre du Châtelet in Paris, before opening at Broadway's Palace Theatre on 12 April 2015 following previews from 13 March 2015, where it continues to run to fantastic audiences.
The Broadway production was nominated for 12 Tony Awards, including Best Musical, as well as eight Outer Critics Circle Awards, including Outstanding New Broadway Musical. At the 2015 ceremony it went on to win 4 Tony Awards, for Best Scenic Design of a Musical, Best Orchestrations, Best Lighting Design of a Musical and Best Choreography. (plus)
Presse: ★★★★ "There is nothing self conscious about An American in Paris. It’s dazzling and noisy in the best sense of an American musical. At the same time it puts a canny, majestic lift beneath the patter and pas de deux, as Paris, is redeemed." NewYorkTheatreGuide.com
"This gorgeously danced — and just plain gorgeous — production pays loving tribute to the 1951 movie, to the marriage of music and movement, and to cherished notions about romance that have been a defining element of the American musical theater practically since its inception.” Charles Isherwood for New York Times
"Wheeldon shows a vibrant vision and buckets of imagination, transforming the 1951 Gene Kelly-Leslie Caron film that inspires the show. He’s also got a cast and design team at the top of their game.” Joe Dziemianowicz for New York Daily News
"There’s much gorgeous ballet to admire in director-choreographer Christopher Wheeldon’s Broadway debut, set against attractive, painterly backdrops by Bob Crowley.” David Cote for Time Out New York
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Musical
Revival
18) Bodyguard (The) (Revival)
Joué durant 5 mois 2 semaines
Première preview: 15 July 2016
Première: 21 July 2016
Dernière: 07 January 2017
Compositeur:
Parolier:
Libettiste:
Metteur en scène: Thea Sharrock •
Chorégraphe: Arthur Pita •
Avec: Beverley Knight (Beverley Knight is not scheduled to perform on Monday evenings or midweek matinees including any revised matinee performances); Ben Richards (Frank Farmer), Rachel John (Nicki Marron), Carole Stennett (alternate Rachel Marron), Mark Holden (Bill Devaney), Alex Andreas (Tony), Dominic Taylor (Sy Spector), Matthew Stathers (Stalker) and Glen Fox (Ray Court). Ensemble members are Faye Best, Pablo Ceresuela Torres, Carlos Ugarriza Crespo, Lisa Darnell, Charles Hagerty, Emma Joy Hopkins, Ibinabo Jack, Christopher Jeffers, Verity Jones, Phoebe Liberty, Raul Naranjo Garcia, Mary Lynn Tiep, Michael Wade-Peters, Matthew Wesley, Emmy Willow and Mark Willshire.
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Musical
Revival
17) War of the worlds (The) (Revival)
Joué durant 2 mois 1 semaine
Première preview: 08 February 2016
Première: 17 February 2016
Dernière: 30 April 2016
Compositeur: Jeff Wayne •
Parolier: Gary Osborne •
Libettiste: H. G. Wells •
Metteur en scène: Bob Tomson •
Chorégraphe:
Avec:
Commentaire: The War of the Worlds will include new music, a star cast that has yet to be announced, and a full supporting company of performers. It will also feature video walls, a "Martian Fighting Machine", special effects and a 3D holography of film star Liam Neeson as The Journalist. (plus)
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Musical
Original London
16) Elf: The Musical (Original London)
Joué durant 1 mois 4 semaines
Première preview: 24 October 2015
Première: 05 November 2015
Dernière: 02 January 2016
Compositeur: Matthew Sklar •
Parolier: Chad Beguelin •
Libettiste: Bob Martin • Thomas Meehan •
Metteur en scène: Morgan Young •
Chorégraphe: Morgan Young •
Avec: Ben Forster (Buddy), Kimberley Walsh (Jovie), Joe McGann (Walter), Jessica Martin (Emily), Jennie Dale (Deb), Mark McKerracher (Santa) and Graham Lappin (Store Manager), Katie Bradley, Charlie Bull, Nicola Coates, Alex Fobbester, Anton Fosh, Charlotte Gale, Francis Haugen, Matt Holland, Tash Holway, Paul Hutton, Mark Iles, Ceili O’Connor, Debbie Paul, Joanna Rennie, Barnaby Thompson and Ed White. Harry Collett, Ilan Galkoff, Noah Key and Ewan Rutherford will alternate the role of Michael
Commentaire:
Presse: "Don't come all ye faithful... this show doesn’t so much invoke the festive spirit as market it." Michael Billington for The Guardian
"For all its commercial, even cynical sheen, then, the show taps the essential spirit of Christmas – our need to connect with our families, and our inner kid." Dominic Cavendish for The Telegraph
"Elf left this Grinch-inclined critic with expectations pleasantly confounded, and full of seasonal good cheer." Fiona Mountford for The Evening Standard
"Efficient, slick, even cynical: Elf is all these. I suppose it will be a success, but it left me a little cold." Quentin Letts for The Daily Mail
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Spectacle
Revival
15) Lord of the Dances-Dangerous Games (Revival)
Joué durant 5 mois 3 semaines
Première preview: 13 March 2015
Première: 13 March 2015
Dernière: 05 September 2015
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Divers •
Metteur en scène: Michael Flatley •
Chorégraphe: Michael Flatley •
Avec: James Keegan as Lord of the Dance
Commentaire: Features new staging, new costumes and new choreography. Based on Irish folklore, this is the classic tale of Good vs. Evil, expressed through the universal language of dance. It's the story of the Little Spirit, who travels through time to help the Lord of the Dance protect his people from the challenge of Don Dorcha, the Dark Lord. As this dark power challenges our hero, the adventure draws you into a mythical universe of love, danger, and desire, created by an orchestrated combination of precision dancing, state of the art lighting and pyrotechnics. (plus)
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Musical
Revival
14) White Christmas (Revival)
Joué durant 1 mois 3 semaines
Première preview: 08 November 2014
Première: 12 November 2014
Dernière: 03 January 2015
Compositeur: Irving Berlin •
Parolier: Irving Berlin •
Libettiste: David Ives • Paul Blake •
Metteur en scène: Morgan Young •
Chorégraphe: Randy Skinner •
Avec: ) Aled Jones (Bob Wallace), Tom Chambers (Phil Davis), Wendi Peters (Martha), Graham Cole (General Waverley), Rachel Stanley (Betty Haynes), Louise Bowden (Judy Haynes), Lori Haley Fox, Michelle Bishop, Phil Cole, Brendan Cull, Jonathan Halliwell, Vikki-Marie Ryan, Lucinda Lawrence, Karen Aspinall, Emma Caffrey, Hayley Reed, Helen Patching, Vicki Davids, Jennifer Davison, Grace Holdstock, Ross McLaren, Joshua Lay, Matt Cheney, Jonny Labey, Anthony Whiteman, Eddie Myles, Stuart Winter, Matt Clark and Gary Murphy. Amy Snudden, Emily Robins, Sophia Pettet and Tatum Confrey will alternate the role of Susan
Commentaire:
Presse: "I’m afraid that overall this dramatically flaky, commercially canny affair left me cold." Dominic Cavendish for The Telegraph
"You may feel that you've endured an entire lifetime of Christmases, white and otherwise, by the end of this amiable, lavish, dynamically danced, but dramatically insipid and ersatz-seeming stage-musical version of the famous 1954 movie." Paul Taylor for The Independent
"It liberally sprinkles snowflakes and cosiness and throws in an explosion of song and high-energy hoofing. The stage is so awash with syrupy sentiment that you fear somebody might slip and take a tumble." Lyn Gardner for The Guardian
"The songs — Sisters, Blue Skies and so on — are a perpetual delight, even if the narrative momentum gets stranded offstage for too-lengthy periods while the boys’ show is rehearsed. Ultimately and somewhat disappointingly, though, White Christmas left me with lukewarm cockles and a half-melted heart." Fiona Mountford for the Evening Standard
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Musical
Revival
13) Evita (Revival)
Joué durant 1 mois 1 semaine
Nb de représentations: 55 représentations
Première preview: 16 September 2014
Première: 22 September 2014
Dernière: 01 November 2014
Compositeur: Andrew Lloyd Webber •
Parolier: Tim Rice •
Libettiste: Tim Rice •
Metteur en scène: Bill Kenwright • Bob Tomson •
Chorégraphe: Bill Deamer •
Avec: Marti Pellow (Che), Madalena Alberto (Evita), Ben Forster (Magaldi), Matthew Cammelle (Peron), Sarah McNicholas, Michelle Pentecost, Amira Matthews, Olive Robinson, Verity Burgess, Gemma Atkins, Lizzie Ottley, Joe McCourt, Joe Maxwell, Joel Elferink, Ryan Pidgen, Anthony Ray, Chris Stoddart, Callum Fitzgerald, David Burilin, Stuart MacIver, Peter McPherson, Joseph Connor, Jamie Tyler, Christopher Palmer
Commentaire:
Presse: "You may end up feeling that the show’s heart is in the right place – and that Evita’s was too. But it’s a close call." (Dominic Cavendish for The Telegraph)
"The music is brilliant as ever; it’s the bits in between the songs that are the problem. The actors’ over- blown gestures seem strained." (Emily Jupp for The Independent)
"If the show still works, it is largely because it boasts one of Lloyd Webber’s best, most tightly composed scores. It uses Latin American rhythms, military marches, and wistful ballads yet constantly returns to a key melodic phrase in the big number." (Michael Billington for The Guardian)
"Bob Tomson and Bill Kenwright direct slickly, employing a large ensemble to give a sense of both the lighter and darker sides of Buenos Aires life. But the limited seven-week run is the best thing for this Evita." (Fiona Mountford for The Evening Standard)
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"We Will Rock You" bat le record de représentations détenu par "Grease"
On August 17th, 2005 the show became the longest running ever at the Dominion Theatre, surpassing the previous record-holder, the 1993 revival of Grease.
Musical
Original
12) We will rock you (Original)
Joué durant 12 ans 2 semaines
Première preview: 26 April 2002
Première: 14 May 2002
Dernière: 31 May 2014
Compositeur:
Parolier:
Libettiste: Ben Elton •
Metteur en scène: Christopher Renshaw •
Chorégraphe: Arlene Phillips •
Avec: Sharon D Clarke (Killer Queen), Alexander Hanson (Khashoggi), Tony Vincent (Galileo), Hannah Jane Fox (Scaramouche), Nigel Clauzel (Britney), Kerry Ellis (Meat), Mazz Murray, Golda Rosheuvel.
Commentaire: The 2,000 seat Dominion was filled with enough hi-tech plasma screens, lasers and massive pyrotechnic effects to fill a techno trade fair. The show had clearly cost a fortune and would need to do huge business to cover its costs. Its chances were rated at nil. It received some of the worst notices ever, including remarks like: "Ben Elton should be shot for this risible story”, “sticky goo", “Utterly preposterous”, “ a disastrous excuse for a musical”, “the show should die of chronic embarrassment”, “precious little rhapsodic here”, “a pathetic adolescent piece of work”, “don’t give them your money”. (However, some individual performances received praise).
“We Will Rock You” went on to became the longest running musical at that venue, et se joue toujours dix ans plus tard! (Like the damning reviews for “Charlie Girl” in 1965, and the gloomy predictions for “Les Miserables” in 1985, it only goes to show the critics do not always get it right.) (plus)
Presse: "A super high energy show with a wacky story that all Queen fans will love." Darren Dalglish for Londontheatre.co.uk
"The script remains little more than two-minute blasts of knob gags and misplaced polemic between songs, and the musical numbers have nothing to do with the script. " Caitlin for The Times
"[Ben] Elton, when he gets his feet out of the sticky goo of this cloying parable, has the odd line which, without causing any action in the ribcage department, does promote smile lines." Peter Clarke for THe Evening Standard
"Ben Elton, the brains behind the book, claims to be a rock fan but he has done Queen a disservice with such a trite and tacky storyline." Fiona Sturges for The Independent
"Shallow, stupid and totally vacuous new musical." Michael Coveney for THe Daily Mail
"Far from being guaranteed to blow your mind, We Will Rock You is guaranteed to bore you rigid. The show is prolefeed at its worst." Charles Spencer for Daily Telegraph
"The songs are recreated meticulously. Diehard Queen fans may be satisfied...You will find nothing bohemian, and precious little that's rhapsodic, here." Brian Logan for The Guardian
"Not even the toe-curling subtext could make a musical with Bohemian Rhapsody completely bite the dust." Chris Bartlett for the Stage
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Musical
Revival
11) Grease (Revival)
Joué durant 1 semaine
Première preview: 22 October 2001
Première: 22 October 2001
Dernière: 03 November 2001
Compositeur: Jim Jacobs • Warren Casey •
Parolier: Jim Jacobs • Warren Casey •
Libettiste: Jim Jacobs • Warren Casey •
Metteur en scène: David Gilmore •
Chorégraphe: Arlene Phillips •
Avec: Craig Urbani (Danny Zuko), Haley Flaherty (Sandy), Nina French (Rizzo) , Matthew Cutts (Kenickie), Emma Cannon (Marty), Tanya Caridia (Frenchy), Richard Taylor Woods (Sonny), Rebecca Cameron, Peter Jamieson, Jason Packett, paul Burnham, Bamaby Thompson, Lorraine Graham.
Commentaire: Back in the West End for two weeks only before commencing a nine month UK tour. (plus)
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Original London
10) Notre-Dame de Paris (Original London)
Joué durant 1 an 4 mois 2 semaines
Première preview: 15 May 2000
Première: 23 May 2000
Dernière: 06 October 2001
Compositeur: Richard Cocciante •
Parolier: Luc Plamondon •
Libettiste: Victor Hugo •
Metteur en scène: Gilles Maheu •
Chorégraphe: Martino Muller •
Avec: Garou/Ian Pirie (Quasimodo), Tina Arena/Hazel Fernandes (Esmeralda), Steve Balsamo/Dean Collinson (Phoebus), Daniel Lavoie/Fred Johanson (Frollo), Luck Mervil/Carl Abraham Ellis (Clopin), Bruno Pelletier/Alexis James (Gringoire)
Commentaire: This sung-through French-Canadian musical based on Victor Hugo’s “The Hunchback of Notre Dame” had opened in Paris in 1998 to phenomenal success. It began life as a concept album and the production was effectively a massive rock-concert, lavishly staged with acrobatics, gymnastics, trapeze-work, spectacular choreography involving body-popping, abseiling and “political” updating with the chorus portrayed as asylum-seeking refugees. It was performed to pre-recorded music tracks (with a live string quintet playing extracts from the score in the circle bar during the interval to satisfy the outrage from the Musicians Union). In spite of its massive success in Paris and Quebec, it was slaughtered by the London critics. The very few who managed to appreciate the music and admire the effects agreed with the many who derided the lyrics, the scenery, costumes and the sheer overwhelming vulgarity of the staging and concept. In spite of bad notices, it survived a 16 month run, closing at the start of October, 2001 (plus)
Presse: JOHN PETERS for THE SUNDAY TIMES says, "This is one of the most stupefying awful musicals I have seen in two decades." He goes on to say, "Why do we have such high-octane foreign garbage when, as the other fellow once said, we have plenty of low-octane British garbage of our own."
NICK CURTIS for THE EVENING STANDARD says, "The French have a word that describes this witless Gallic musical, but it's too rude to use here. Suffice to say that this is a complete crock, monsieur. Writer Luc Plamondon and composer Richard Cocciante have taken one of the world's best-known stories and turned it into a nonsensical, through-sung procession of Europop ditties, re-upholstered with buttock-clenchingly clumsy English lyrics by Will Jennings."
THE INDEPENDENT called it "A load of old bells"
THE EXPRESS called it "All bats and no belfry". "
CHARLES SPENCER for THE DAILY TELEGRAPH liked the music, but not the production saying, "The one thing that can be said in favour of the piece is that Richard Cocciante's score is a winner, at least for those, like me, with lowbrow musical tastes. The more fastidious will probably think the music naff and too loud, but I found the soaring power pop and tortured masochistic ballads stirring. Unfortunately almost everything else about the show is a complete flop."
MICHAEL BILLINGTON for the GUARDIAN says, "In Gilles Maheu's antiseptic production we seem to have a rock concert in frocks spiced up with displays of muscular aerobics from performers purporting to be asylum-seeking refugees. The story sinks under the relentless barrage of Richard Cocciante's music, which has a seamless Gallic monotony. And Luc Plamondon's lyrics, rendered into something passing for English by Will Jennings, are often impenetrable - or raise a derisory titter."
THE STAGE headlined, "Story sinks in musical mire."
JANE EDWARDES for TIME OUT says, "The show is a disaster."
BENEDICT NIGHTINGALE for THE TIMES was not too harsh saying, "There are occasional imaginative production touches: huge bells with writhing, upside-down humans for clappers, for instance. But if the show's creators aspire to mount a telling attack on an unjust, hypocritical, brutal society they have some way to go. Another Les Mis this isn't."
However THE DAILY MAIL gave a favourable review saying Tina Arena was "superb" and saying "I really respect, and maybe love, this show."
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Revival
9) Beauty and the Beast (Revival)
Joué durant 2 ans 7 mois
Nb de représentations: 1071 représentations
Première preview: 29 April 1997
Première: 13 May 1997
Dernière: 11 December 1999
Compositeur: Alan Menken •
Parolier: Howard Ashmand • Tim Rice •
Libettiste: Linda Woolverton •
Metteur en scène: Robbie Roth •
Chorégraphe: Matt West •
Avec: Cast: Alasdair Harvey (Beast), Julie Alanah Brighten (Belle), Burke Moses (Gaston), Richard Gauntlett (Lefou), Norman Rossington (Maurice), Barry James (Clogsworth), Derek Griffiths (Lumiere), Rebecca Thornhill (Babette), Mary Millar (Mrs Potts), Di Botcher (Mme de la grande Bouche)
Commentaire: Notes: Based on the 1991 Disney film, seven new songs were written for the stage musical with lyrics by Tim Rice. Howard Ashman, the original lyricist, had died in 1991. The Broadway production ran for 5,461 performances between 1994 and 2007. The show had been staged in eight other cities before coming to London and was said to have cost £10 million, the most expensive musical ever staged in the West End. It was lavish, spectacular and filled with magical effects and a superb re-creation of the famous “Be Our Guest” sequence from the film - a sequence which never failed to stop the show. From the opening, when a witch soared high in the air, to the finale, where the Beast was magically transformed back into a handsome Prince, this was a show that delighted even the most cynical of the critics. During the London run replacements for Belle included Michelle Gayle and Annalene Beechey, and John Barrowman and Earl Carpenter as the Beast. The production won the Olivier Award for Best New Musical in 1998. The world-wide box office takings for this show went on to exceed $1.4 billion, and the production has since been seen in 13 countries and 115 cities. (plus)
Presse: MICHAEL BILLINGTON of THE GUARDIAN said "It may not be high art but it's certainly great fun."
NICHOLAS DE JONGH of THE EVENING STANDARD said "Mr Harvey's mournful Beast left me untouched."
MICHAEL COVENEY of DAILY MAIL said "If you have kids, prepare to take them now."
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Revival
8) Scrooge The Musical (Revival)
Joué durant 2 mois 3 semaines
Première preview: 12 November 1996
Première: 12 November 1996
Dernière: 01 February 1997
Compositeur:
Parolier:
Libettiste:
Metteur en scène: Tudor Davies •
Chorégraphe: Tudor Davies •
Avec: Anthony Newley (Scrooge), Richard Shelton {Young Scrooge), Tom Watt (Bob Crate hit), John Faal/Jamie Meyer (Tiny Tim), Stephen Earle (Jacob Marley), Felicity Soper (Christmas Past), David Alder (Christmas Present), Martin Hibbert (Christmas Yet to Come)
Commentaire: This was a touring production in London for the Christmas season. It was felt to be a poor musical, but a jolly enough Christmas pageant. Most of the critics managed to come out with “Bah, humbug!” (plus)
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Revival
7) Grease (Revival)
Joué durant 3 ans 3 mois 1 semaine
Première preview: Inconnu
Première: 15 July 1993
Dernière: 19 October 1996
Fait partie de: London Revival 1993
Compositeur: Jim Jacobs • Warren Casey •
Parolier: Jim Jacobs • Warren Casey •
Libettiste: Jim Jacobs • Warren Casey •
Metteur en scène: David Gilmore •
Chorégraphe: Arlene Phillips •
Avec: Craig McLachlan (Danny Zuko), Debbie Gibson (Sandy),Sally Anne Triplett (Rizzo) Shane Ritchie (Kenickie), Charlotte Avery (Marty),Jo Bingham (Frenchy), Richard Calkin (Sonny), John Combe , Liz Ewing, Drew Jaymson, Andrew Kennedy, Gary Martin, Tamzin Outhwaite
Commentaire: This large-scale, expanded version of the show included the additional songs written for the film. It was an enormous success and received an excellent critical reception, and ran a phenomenal 6 years. Some of the cast changes during this time included Ian Kelsey, Luke Goss, Sonia, Samantha Janus, Marissa Dunlop, Linzi Hateley. (plus)
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Parolier: Jim Jacobs • Warren Casey •
Libettiste: Jim Jacobs • Warren Casey •
Metteur en scène: David Gilmore •
Chorégraphe: Arlene Phillips •
Avec: Craig McLachlan (Danny Zuko), Debbie Gibson (Sandy),Sally Anne Triplett (Rizzo) Shane Ritchie (Kenickie), Charlotte Avery (Marty),Jo Bingham (Frenchy), Richard Calkin (Sonny), John Combe , Liz Ewing, Drew Jaymson, Andrew Kennedy, Gary Martin, Tamzin Outhwaite
Musical
Revival
6) Barnum (Revival)
Joué durant 2 mois 1 semaine
Nb de représentations: 84 représentations
Première preview: Inconnu
Première: 17 December 1992
Dernière: 22 February 1993
Compositeur: Cy Coleman •
Parolier: Michael Stewart •
Libettiste: Mark Bramble •
Metteur en scène: Buddy Schwab •
Chorégraphe: Buddy Schwab •
Avec: Paul Nicholas (P. T.Barnum), Carol Duffy {Charity Barnum), Richard Gauntlett (Ringmaster), Simon David Trout (Tom Thumb), Clara Miller (Jenny Lind)
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Original London
5) Grand Hotel (Original London)
Joué durant 3 mois 3 semaines
Nb de représentations: 136 représentations
Première preview: Inconnu
Première: 06 July 1992
Dernière: 31 October 1992
Compositeur: George Forrest • Maury Yeston • Robert Wright •
Parolier: George Forrest • Maury Yeston • Robert Wright •
Libettiste: Luther Davis •
Metteur en scène: Tommy Tune •
Chorégraphe: Tommy Tune •
Avec: Brent Barrett (Baron von Gaigern), Liliane Montevecchi (Ballerina Grushinskaya), Debbie de Coudreaux (Raffaela) , K.C. Wilson (Director Preysing), Barry James (Otto the accountant), Lynnette Perry (the Typist), Kieran Mcllroy (Erik Front Desk), Barry Foster, Eric Flynn, Adam Caine, Nigel Francis.
Commentaire: Based on the 1928 novel by Vicki Baum and originally produced in New York on Nov 12th 1989 where it ran for 1.018 performances. The show was given without an interval, and since it lasted just over two hours this was the source of much comment. Although the production was greatly praised, for its performers, staging and direction, it only managed to run for four months. (plus)
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Revival
4) 42nd Street (Revival)
Joué durant 1 mois 3 semaines
Nb de représentations: 61 représentations
Première preview: Inconnu
Première: 27 February 1991
Dernière: 20 April 1991
Compositeur: Harry Warren •
Parolier: Al Dubin •
Libettiste: Mark Bramble • Michael Stewart •
Metteur en scène: Mark Bramble •
Chorégraphe: Randy Skinner •
Avec: Jenna Ward (Peggy Sawyer), Elaine Loudon (Dorothy Brock), Kenneth Nelson {Julian Marsh), Richard Cuerden {Billy Lawlor), Meg Johnson (Maggie Jones), Graeme Henderson, Bob Sessions
Commentaire: This was an eight week season before the tour moved on for the Summer at Blackpool (plus)
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Original
3) Bernadette (Original)
Joué durant 3 semaines
Nb de représentations: 28 représentations
Première preview: Inconnu
Première: 21 June 1990
Dernière: 14 July 1990
Compositeur: Gwyn Hughes • Maureen Hughes •
Parolier: Gwyn Hughes • Maureen Hughes •
Libettiste: Gwyn Hughes • Maureen Hughes •
Metteur en scène: Ernest Maxim •
Chorégraphe: Pat Dennison •
Avec: Natalie Wright (Bernadette Soubrious), Nikki Ankara (Louise Soubrious), Meredith Braun (Camille), Terry Mitchell (Philippe), William Pool, Chris van Cleve, Robin Samson, Drew Millar.
(One of the children in the show was Martine McCutcheon)
Commentaire: The husband and wife team who wrote this show were supported by the Daily Mirror, who urged their readers to become “angels” and invest in this, the “peoples’ musical”. Hundreds of readers contributed small sums, and a former chauffeur put up £500,000 of his life’s savings, thus raising the £1.25 million needed. The opening night was cheered to the rafters by a house packed with hundreds of investors, but the critics were damning (“three thousand angels and not a prayer”, “Pass the loaves and fishes, they need a miracle”). Despite a blessing from the Pope for the cast and authors, and the investors coming up with more money, the show came off after 3 weeks, losing all its investment. (plus)
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Original
2) Time (Original)
Joué durant 2 ans 1 semaine
Première preview: Inconnu
Première: 09 April 1986
Dernière: 16 April 1988
Compositeur: Jeff Daniels •
Parolier: Dave Clark • David Soames •
Libettiste: Dave Clark • David Soames •
Metteur en scène: Larry Fuller •
Chorégraphe: Larry Fuller •
Avec: Cliff Richard (Chris Wilder), Jodie Wilson (Louise), Dawn Hope (Babs), Maria Ventura (Carol), Jeff Shankley (Melchissedic, the Time Lord), Dilys Watling (Judge Morqua), Bernard Lloyd (Judge Trigon),
David Timson (Judge Lagus), Laurence Olivier (Akash, the Ultimate Word in Truth - a Hologram)
Commentaire: This show had cost a staggering £4 million and embraced a circular stage that tilted upwards into the vertical plane, and contained batteries of lights, stroboscopes and lasers turning the whole auditorium into a “sensuround galaxy”.
The sound-system was intended to set all the seats vibrating to simulate the lift-off of a rocket into outer-space.
Laurence Olivier appeared as a hologram inside a giant floating egg which opened at various intervals to comment upon the need for Truth.
After the first year the Cliff Richard role was taken over by David Cassidy, and then later by David Ian.
The show ran for two years but failed to break even because of its huge running costs. Following a dispute between the owners of the Dominion Theatre and Dave Clarke the show suddenly closed in April 1988 even though there were advance ticket sales for the following six months. Refunds were given. (plus)
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