Londres
Gielgud Theatre
Londres - Angleterre
Construction: 1906
Topologie du théâtre
Nombre de salles actives: 1
Salle 1: (1008) 1906 - Actif
Accès
En métro: Piccadilly Circus
En bus: 14, 19 & 38
Adresse: 35-37 Shaftesbury Avenue, London, W1D 6AR
Evolution
Bâtiment: The Gielgud Theatre was designed by by W.G.R. Sprague and opened on 27 December 1906 as the Hicks Theatre, named after Seymour Hicks, for whom it was built. In 1909, the American impresario Charles Frohman became manager of the theatre and renamed the house the Globe Theatre – a name that it retained for 85 years. Refurbished in 1987. During reconstruction of Shakespeare's Globe Theatre on the South Bank, in 1994 the theatre was renamed the Gielgud Theatre in honour of John Gielgud. Another refurbishment was completed in 2008.
Nom: 1906-1909 Hicks Theatre / 1909-1994 Globe Theatre
Propriétaire(s)
Delfont Mackintosh Theatres
Remarquable
The elevational treatment of the block including the Queen’s Theatre - The double-height circular foyer
1008
1906 - Actif
The origins of the Gielgud lie with a boot- and shoe-maker, Jack Jacobus, whose premises were in Shaftesbury Avenue, and an estate agent, Sydney Marler. In 1904 these two, in partnership, acquired a lease on the block of buildings bounded by Rupert Street, Wardour Street and Winnett Street, with a view to erecting two theatres and also expanding Jacobus’s business. They commissioned the architect W. G. R. Sprague to produce a master plan for the site, which he did by placing a theatre at each main angle, with the expanded boot and shoe holding between the two, fronting on to Shaftesbury Avenue. Jacobus and Marler were joined in their venture by the actor Seymour Hicks, after whom one of the playhouses was named. The Hicks Theatre, on the southeast angle, opened on 27 December 1906, and the Queen’s, on the southwest angle, almost a year later. Hicks, however, quickly lost interest and pulled out; as a consequence the name of the first theatre changed in 1909 to the Globe. In 1994 the reconstructed ‘Shakespeare’s Globe’ opened on Bankside within the shadow of the Tate Modern Gallery, and the older theatre was renamed in honour of the man who was one of the 20th century’s greatest British aCtors.
Sir John Gielgud, who died on 21 May 2000 aged 96, was the son of a stockbroker father and a mother who was related to the great 19th-century actress Ellen Terry. A master of classical roles, once referred to by the late Sir Alec Guinness as ‘a silver trumpet muffled in silk', he starred in a number of successful productions at the Globe. Equally at ease on stage and screen, Gielgud played many notable roles on film, Including an Oscar-winning performance as Hobson, Dudley Moore’s butler in the comedy Arthur.
Sprague’s group originally presented a lively, almost symmetrical Portland-stone faced composition to Shaftesbury Avenue; but it lasted only until 1940, when the Queen’s was badly damaged by enemy bombing. Its undamaged companion, however, continues to sit extremely comfortably with the colourful street-market and strip-bar world of Rupert Street. Its design in a free baroque style is typical of Sprague’s work, cleverly turning the corner into Rupert Street using a bowed angle, emphasized by giant Ionic columns supporting a buttressed circular tower and dome. High-level ceil-de-bceuf windows and balustrading unify the two main elevations; a subordinate 10-bay flank elevation extends along Rupert Street.
The circular entrance foyer comprises a very attractive, airy, double-height cream and gold space reminiscent of the smoking gallery at the Aldwych Theatre (also designed by Sprague), here enhanced by Ionic pilasters and puttl spandrels under a domed ceiling. The auditorium, carrying through this circular theme, is decorated in Louis XIV style, now coloured a pinky peach. The side walls to the two cantllevered balconies are dressed with paired Ionic columns, partly buried within the wall, between which roundels are placed at dress-circle level, depicting scenes including Pan playing for dancing cherubs. At the rear of the dress circle the former grand saloon, now the bar, is an extension of the overall decorative scheme. On either side of the proscenium two tiers of boxes are flanked by pedestailed Corinthian pilasters, and the 12-panel circular domed ceiling is ornamented by swags of flowers.
Of the timber stage machinery that dates from the building of the theatre, enough survives of the original four bridges, slotes and traps to illustrate Its fine quality.
The theatre opened with a production of The Beauty of Bath, starring Seymour Hicks and Ellaline Terriss; this was followed by successes penned by Somerset Maugham, Noël Coward and Ivor Novello. In 1939 John Gielgud starred in Oscar Wilde's The Importance of Being Earnest, and from 1949 he appeared in Christopher Fry’s The Lady’s Not For Burning, Nude With Violin and The Potting Shed. Peter Hall’s production of Hamlet honoured the renaming of the theatre in 1994.
The Gielgud Theatre was designed by by W.G.R. Sprague and opened on 27 December 1906 as the Hicks Theatre, named after Seymour Hicks, for whom it was built. In 1909, the American impresario Charles Frohman became manager of the theatre and renamed the house the Globe Theatre – a name that it retained for 85 years. Refurbished in 1987. During reconstruction of Shakespeare's Globe Theatre on the South Bank, in 1994 the theatre was renamed the Gielgud Theatre in honour of John Gielgud. Another refurbishment was completed in 2008.
Infos complémentaires:
The Stalls in the Gielgud are divided into a smaller front section and a larger rear section. Due to the height of the stage the first few rows should be avoided, as shorter audience members will struggle to see the stage. For the same price, sit a few rows back. The section fans out until row S, with rows getting wide towards the rear, meaning some seats fall just outside of the proscenium. This does not cause too many problems, although more central seats are often preferred. The section is well raked meaning that good views over heads are possible. The overhang of the Circle can feel quite low in places, and begins to affect sight lines from around row M. Depending on the production, this can cause some issues in chopping off the top of the stage. The final four rows of the section are the cheapest, and there is not much difference between rows U and V visually, so opt for the cheaper row first. The aisles are fairly wide and the venue feels comfortable throughout this section.
The Dress Circle provides excellent views of the stage, even towards the rear of the section. The shape of the seating area curves around the stage, meaning that many rows provide side on views of the stage, particularly towards the front. Although cheaper, these seats are quite restricted in places and row A should only be selected if discounted. Premium seats are towards the centre of row A (seats 12-23), but for better value, the same seats two to three rows back provide similar views of the stage. The best seats in the whole section are from 12-24, as these avoid most of the curve. The whole section is well raked, meaning views over the audience in front is mostly good. The overhang from the Upper Circle does not affect seats even at the back, and feels quite high and roomy.
Dress Circle boxes are set up at the top of the section, and are a little further back from the stage. Although the central ones are straight on, you can feel disconnected to the action.
The Grand Circle is set far back at the top of the theatre and is the highest section. Seats look directly down onto the stage and can feel quite high. The section is divided into a front and rear section, with the back half divided into a left and right side. More expensive seats are in the front three rows, towards the centre, with discounted seats following the curve of the balcony around. A safety bar runs around the edge of the balcony and can cause problems for the first two or three rows, and it is also doubled in height nearest the aisles. The section is divided by a small wall, resulting in the rear section setting back above the front and feeling even further away from the action. The rake in the front section is better than the top, but it is the curvature of the balcony that causes the most problems.
1906-1909 Hicks Theatre / 1909-1994 Globe Theatre
The elevational treatment of the block including the Queen’s Theatre - The double-height circular foyer
Théâtre
West End Transfer
41) To Kill a Mockingbird (West End Transfer)
Joué durant 2 ans 11 mois 1 semaine
Première preview: 21 May 2020
Première: 11 June 2020
Dernière: 20 May 2023
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Divers •
Metteur en scène: Bartlett Sher •
Chorégraphe:
Avec: Rhys Ifans (Atticus Finch)
Commentaire: Bartlett Sher's production of To Kill A Mockingbird, adapted for the stage by Aaron Sorkin from Harper Lee's classic novel, will transfer to the Gielgud Theatre from May 2020. The production transfers following a hugely successful run on Broadway, where it starred Jeff Daniels. The West End transfer was announced on 31st October 2019, marking the one year anniversary since the production opened on Broadway at the Shubert Theatre. (plus)
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Original
40) 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)
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Théâtre
Original
39) Upstart Crow (Original)
Joué durant 2 mois
Première preview: 07 February 2020
Première: 18 February 2020
Dernière: 25 April 2020
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Divers •
Metteur en scène: Sean Foley •
Chorégraphe:
Avec: David Mitchell (Shakespeare), Gemma Whelan, Helen Monks (Susanna), Rob Rouse (Bottom), Steve Speirs (Burbage), Mark Heap (Dr John Hall), Danielle Phillips, Jason Calldender, Rachel Summers.
Commentaire: David Mitchell stars as the Bard himself in a brand new stage adaptation of his hilarious historical TV sitcom Upstart Crow, set to open at the Gielgud Theatre in February 2020.
Written by Ben Elton, known for penning TV series such as The Young Ones and Blackadder as well as musicals We Will Rock You and Love Never Dies, the series first aired in 2016 as part of the commemorations for 400 years since William Shakespeare’s death. The show follows the writing and preparations of the premiere of Romeo and Juliet in 1592, with each episode alluding in some way to a Shakespeare play.
Mitchell will reprise his role in the show on stage as he plays Shakespeare alongside Gemma Whelan, who also reprises her role from the series as Kate, the daughter of Shakespeare’s landlord who wants to become an actor.
The stage adaptation of the TV show will be set in 1605, a point in time where Shakespeare had only written All’s Well That Ends Well and Measure for Measure, leaving Britain’s greatest playwright in need of a hit. But as he battles his personal life to put pen to paper, can he fulfil his potential? (plus)
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Théâtre
West End Transfer
38) Girl From the North Country (West End Transfer)
Joué durant 1 mois 2 semaines
Première preview: 10 December 2019
Première: 16 December 2019
Dernière: 01 February 2020
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Divers •
Metteur en scène: Conor McPherson •
Chorégraphe:
Avec: Daniel Bailey (Ensemble), Colin Bates (Gene Laine), Katie Brayben (Elizabeth Laine), Anna Jane Casey (Mrs Burke), Nicholle Cherrie (Ensemble), David Ganly (Mr Burke), Simon Gordon (Ensemble), Steffan Harri (Elias Burke), David Haydn (Ensemble), Rachel John (Mrs Neilsen), Sidney Kean (Mr Perry), Finbar Lynch (Reverend Marlowe), Donald Sage Mackay (Nick Laine), loria Obianyo (Marianne), Ferdy Roberts (Dr Walker), Wendy Somerville (Ensemble), Gemma Sutton (Katherine Draper), Shaq Taylor (Joe Scott), Alan Vicary (Ensemble).
Commentaire: The Old Vic transfer this world premiere of Girl From the North Country, an electrifying new work from esteemed playwright Conor McPherson along with classic songs from Bob Dylan, to the West End at the Gielgud Theatre following its run at the Noel Coward Theatre.
The production originally ran at the Old Vic in July 2017 to wide critical acclaim for the cast, the story and the haunting arrangements of Dylan's classic numbers. It later transferred to the Noel Coward in the West End for a short run from 29th December 2017 to 24th March 2018. (plus)
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Concert
37) Misérables (Les) (Concert)
Joué durant 3 mois 3 semaines
Première preview: 10 August 2019
Première: 10 August 2019
Dernière: 30 November 2019
Compositeur: Claude-Michel Schonberg •
Parolier: Alain Boublil • Jean-Marc Natel •
Libettiste: Alain Boublil • Jean-Marc Natel •
Metteur en scène:
Chorégraphe:
Avec: Michael Ball, Alfie Boe, Carrie Hope Fletcher, Matt Lucas, Katy Secombe, John Owen-Jones, Rob Houchen, Bradley Jaden, Shan Ako, Lily Kerhoas, Rosanna Bates, Adam Bayjou, Ciarán Bowling, Simon Bowman, Oliver Brenin, Earl Carpenter, Vinny Coyle, Samantha Dorsey, Tamsin Dowsett, Nicola Espallardo, Celia Graham, Barnaby Hughes, Holly-Anne Hull, Oliver Jackson, Christopher Jacobsen, Gavin James, Will Jennings, Ciaran Joyce, Katie Kerr, Sarah Lark, Joanna Loxton, Craig Mather, Stephen Matthews, James Nicholson, Rosa O’Reilly, Claire Parrish, Sophie Reeves, Grainne Renihan, Leo Roberts, Raymond Walsh, Gemma Wardle and Andrew York.
Commentaire: Michael Ball, Alfie Boe, Carrie Hope Fletcher and Matt Lucas star in a special concert production of Les Miserables in London at the Gielgud Theatre in the West End.
The concert production of the Les Miserables musical opened temporarily to the Gielgud Theatre in the summer with this concert production, running from 10th August 2019 while the Queen’s Theatre, now renamed the Sondheim Theatre, is refurbished.
Michael Ball returns to the production after he starred in its London premiere at the Barbican in 1985. Ball played Marius Pontmercy in the original production, which quickly transferred to the Palace Theatre in the West End. Ball will play Javert in this special concert production of the musical.
Alfie Boe plays Jean Valjean in the musical. Ball and Boe have previously toured the country together on numerous occasions, and have released two number one albums together. Boe has previously performed the role of Jean Valjean in the musical at the Queen's in 2011.
Les Miserables In Concert also features Carrie Hope Fletcher, who heads back to where her career began as a child playing Young Eponine in the musical in 2001. She returned to the production in 2013 to play the older version of the character, and will take on the role of Fantine in the show in this concert production.
Matt Lucas also appears in the concert. The Little Britain actor takes on the role of Thénardier in the concert after he played the part at a 25th anniversary concert of the show in 2010, and then took on the role in the full West End production in 2011. (plus)
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Théâtre
West End Transfer
36) Sweat (West End Transfer)
Joué durant 1 mois 1 semaine
Première preview: 07 June 2019
Première: 12 June 2019
Dernière: 20 July 2019
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Divers •
Metteur en scène: Lynette Linton •
Chorégraphe:
Avec: Leanne Best (Jessie), Osy Ikhile (Chris), Patrick Gibson (Jason), Wil Johnson (Brucie), Stuart McQuarrie (Stan), Clare Perkins (Cynthia), Martha Plimpton (Tracey), Sule Rimi (Evan) and Sebastian Viveros (Oscar).
Commentaire: Lynn Nottage's Pulitzer Prize-winning play Sweat transfers to the West End's Gielgud Theatre for a limited run of 50 performances following its sell-out UK premiere at the Donmar Warehouse. (plus)
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Revival
35) Company (Revival)
Joué durant 6 mois
Première preview: 26 September 2018
Première: 26 September 2018
Dernière: 30 March 2019
Compositeur: Stephen Sondheim •
Parolier: Stephen Sondheim •
Libettiste: George Furth •
Metteur en scène: Marianne Elliott •
Chorégraphe:
Avec: Rosalie Craig (Bobbie), Patti LuPone (Joanne)
Commentaire: Frequently billed as 'the first concept musical' Company follows Bobby a single man unable to commit fully to a steady relationship or marriage. The show begins on his 35th birthday where we see his interactions with his best friends, five married couples and three girlfriends. The musical explores his relationships through a series of short vignettes, breaking the traditional mould of a book musical. The show was successful as it represented adult themes and reflected back the lives of New Yorkers in a way that hadn't previously been seen in commercial musical theatre.
There have been frequent attempts to stage gender-reversed and queer productions of Company, but this new production is the first to have been officially licensed by Sondheim, who has agreed to changes in the text. It is unclear at this stage how much of the musical will be changed and exactly which characters will be switched, but it will certainly offer a modern perspective on love and marriage, rather than the 1970s style that is usually attempted. (plus)
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Revival
34) Imperium I : Conspirator (Revival)
Joué durant 2 mois 1 semaine
Première preview: 14 June 2018
Première: 30 June 2018
Dernière: 08 September 2018
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Divers •
Metteur en scène: Gregory Doran •
Chorégraphe:
Avec:
Commentaire: Following his stunning RSC adaptation of Hilary Mantel’s Wolf Hall and Bring Up the Bodies (2013/14), Mike Poulton turned his pen to the thrilling world of Ancient Rome with a brand-new version of Robert Harris’ best-selling Cicero Trilogy.
After a sell-out season in the Swan Theatre, Gregory Doran's epic, acclaimed productions of Imperium: The Cicero Plays, based on the bestselling Cicero Trilogy by Robert Harris and adapted by Mike Poulton, will transfer to London’s Gielgud Theatre for a strictly limited Season from 14 June. Richard McCabe and Joseph Kloska will reprise their roles as Cicero and Tiro. (plus)
Presse: ★★★★★ ‘A Roman triumph for the RSC’ Guardian
‘An exhilarating and timely political drama’ Guardian
‘Gregory Doran’s production… One of the finest achievements of the Royal Shakespeare Company in recent years’ Guardian
‘Cicero…is beautifully acted by Richard McCabe in a career-defining performance’ Guardian
‘A glittering array of performances’ Guardian
‘Siobhan Redmond excellently shows the hidden steel of Terentia, while Eloise Secker, as both Clodia and Fulvia, suggests that…vengeful rage is not the property of any particular gender’ Guardian
‘This is a tremendous show that…takes us to the heart of ancient Rome’ Guardian
★★★★★ ‘Gregory Doran’s production of Poulton’s colossal version of Harris’ three-novel epic covers itself with its own kind of glory… the sheer scale of the enterprise inspires awe’ Whatsonstage
‘Poulton’s…customary combination of verbal dexterity, clear storytelling and hefty doses of leavening wit only serves to accentuate the brilliance of the undertaking’ whatsonstage
‘Anthony Ward’s stunning re-crafting of The Swan… and some perfectly judged lighting and music from Mark Henderson and Paul Englishby respectively add drama and nuance to the spectacle’ whatsonstage
‘Peter de Jersey stands out as an ambitious, wily Julius Caesar, while Pierro Niel-Mee offers two impressive characterisations’ whatsonstage
‘The whole extensive ensemble plays crucial parts in unfolding the vast canvas intelligibly and with a relentless drive to entertain’ whatsonstage
‘At the heart of these two shows is a double act that thoroughly deserves their standing ovation… Richard McCabe and Joseph Kloska play Cicero and his secretary with a joyous complementary verve, sparking off each other explosively’ whatsonstage
‘It’s an extraordinary feat by both actors… their roles carry the productions on a wave of confidence, bravado and performing fireworks. If they aren’t in line to share some best actor awards over the next few months, then there’ll have been a serious miscarriage of justice’ whatsonstage
★★★★ ‘The RSC and Mike Poulton here repeat their trick of turning fictional accounts of historical power games into plain-speaking, propulsive, epic theatre’ times
‘Gregory Doran’s poised, witty, beautifully acted productions’ times
★★★★ 'A masterly performance by Richard McCabe... a beautifully judged Cicero' observer
'Siobhan Redmond makes an intelligent, stalwart Terentia' observer
★★★★ ‘Richard McCabe gives a superb central performance’ Independent
‘Master-adapter, Mike Poulton…excels again’ independent
‘Dynamic epic theatre…presented with terrific energy and clarity by Gregory Doran’s production’ independent
‘Joe Dixon is disturbingly enraged as Catiline and then magnetically wild and dangerous as Antony' independent
‘Peter de Jersey’s extraordinary portrayal’ independent
‘Apart from a few lines in Caesar, Shakespeare ignores this great statesman almost completely. Putting him centre-stage for fascinating epic, the Royal Shakespeare Company is handsomely redressing the balance.’ independent
★★★★ 'Richard McCabe commands the day as Cicero' sunday times
'Gregory Doran's smooth production occupies an elegant, unchanging set by Anthony Ward' sunday times
★★★★ 'Mike Poulton's two-part adaptation of Harris's trilogy of novels for the RSC is remarkable' daily mail
'A nimble performance by Richard McCabe' daily mail
'An understated but exquisite performance from Oliver Johnstone' daily mail
'Gregory Doran's production handles the dense politics with a light touch' daily mail
'A hugely impressive accomplishment' daily mail
★★★★ ‘McCabe ensures that he’s engaging and complex, a potent and authoritative figure who’s nonetheless capable of appearing fragile’ Evening standard
‘Joe Dixon is sinister as Cataline and then furiously blunt as Mark Antony’ evening standard
‘Peter de Jersey’s Caesar has a strikingly sweary directness’ evening standard
‘Crisp work from Oliver Johnstone and John Dougall, and in this very male environment Eloise Secker makes a strong impression as crafty courtesan Clodia and politically adroit Fulvia’ evening standard
‘The revelation is Joseph Kloska as the slave Tiro… he brings an air of half-appalled candour and confidentiality to the role, and relishes several of Poulton’s best lines’ evening standard
‘Poulton writes short, vivid scenes…Anthony Ward’s design is dominated by a giant ball suspended over the stage, which glows or shimmers in keeping with the story’s mood’ evening standard
★★★★ ‘Poulton’s adaptation expertly condenses and makes clear all the complex machinations and power plays… it’s quite a feat’ The Stage
‘In the demanding central role of Cicero, Richard McCabe is incredibly engaging, quick of mind and tongue, but also alert to Cicero’s flaws’ The Stage
‘Joseph Kloska’s Tiro manages to have a gentle watchful presence … the two have a nice rapport’ The Stage
‘Peter de Jersey makes a forceful Caesar’ The Stage
‘Pierro Niel-Mee puts in two brilliantly different performances as the charismatic Patrician Clodius and the steely Agrippa’ The Stage
‘Oliver Johnstone is unsettlingly collected as Caesar’s young heir Octavian’ The Stage
‘Harris and Poulton’s Cicero, as portrayed by the ever-admirable Richard McCabe, is not unlike a Shakespearean tragic hero’ Financial Times
‘All hail Oliver Johnstone, a major find … a blistering oratory pupil in Part I then an inscrutable, all-conquering Octavian in Part II’ Daily Telegraph
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Théâtre
West End Transfer
33) Ferryman (The) (West End Transfer)
Joué durant 10 mois 3 semaines
Première preview: 10 June 2017
Première: 29 June 2017
Dernière: 19 May 2018
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Divers •
Metteur en scène: Sam Mendes •
Chorégraphe:
Avec: Paddy Considine, Laura Donnelly, Genevieve O'Reilly, Bríd Brennan, Turlough Convery, Fra Fee, Tom Glynn-Carney, Stuart Graham, Gerard Horan, Carla Langley, Des McAleer, Conor MacNeill, Rob Malone, Dearbhla Molloy, Eugene O’Hare and Niall Wright
Commentaire: Jez Butterworth returns to the Royal Court Theatre after The River and the multi-award winning Jerusalem with his new play The Ferryman. Directed by Sam Mendes and designed by Rob Howell. The Ferryman is developed by and co-produced with Sonia Friedman Productions. The play has been universally aclaimed by critics, receiving 5* reviews across the board.
Tickets for The Ferryman at the Royal Court Theatre broke records, selling out in record time. It was announced that The Ferryman will transfer to the West End's Gielgud Theatre for 16 weeks from 20 June to 7 October 2017, with an opening night on 29 June 2017. (plus)
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West End Transfer
32) Curious Incident of the Dog in the Night-Time (The) (West End Transfer)
Joué durant 2 ans 11 mois
Première preview: 24 June 2014
Première: 08 July 2014
Dernière: 03 June 2017
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Divers •
Metteur en scène: Marianne Elliott •
Chorégraphe:
Avec: Graham Butler (Christopher), Vivienne Acheampong (No. 40/Punk Girl), Daniel Casey (Roger Shears), Emily Joyce (Judy), Gay Soper (Mrs Alexander), Paul Stocker (Mr Thompson), Nicolas Tennant (Ed), Tony Turner (Reverend Peters), Victoria Willing (Mrs Shears), Sarah Woodward (Siobhan) and Sam Bond, Roxanne Palmer, Mark Rawlings
Commentaire: Le spectacle a été créé au National Theatre, dans la plus petite de leur trois salle (Cottesloe Theatre, actuellement Dorfman Theatre) du 24 juillet au 27 octobre 2012.
Vu l'énorme succès, il a été transféré dans le West End, à l' Apollo Theatre, ouvrant le 12 mars 2013, après des previews depuis le 1er mars. Le 19 décembre 2013, en pleine représentation, une partie du plafond de la salle s'effondre. Le spectacle s'arrête et ne reprendra au Gielgud Theatre, à une dizaine de mètres de l'Apollo, que le 24 juin 2014. (plus)
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Théâtre
Revival
31) Blithe Spirit (Revival)
Joué durant 2 mois 3 semaines
Première preview: 01 March 2014
Première: 16 March 2014
Dernière: 07 June 2014
Compositeur:
Parolier:
Libettiste: Noël Coward •
Metteur en scène: Michael Blakemore •
Chorégraphe:
Avec: Angela Lansbury (Madame Arcati), Janie Dee (Ruth), Charles Edwards (Charles Condomine), Jemima Rooper (Elvira), Simon Jones (Doctor George Bradman), Patsy Ferran (Edith), Serena Evans (Mrs Bradman)
Commentaire:
Presse: "Angela Lansbury is on sparkling form in Blithe Spirit, one of Noël Coward’s most inventive comedies." Charles Spencer for The Telegraph
"The bickering menage a trois is exceptionally well played here. Charles Edwards beautifully captures the supercilious suavity of the novelist who is knocked off balance by the idea that it's his “subconscious” which has summoned Elvira...." Paul Taylor for The Independent
"Even if Lansbury's voice seems on a different level from that of her colleagues, it is a perfectly credible performance. The real star of the show, however, is Charles Edwards as the novelist-hero." Michael Billington for The Guardian
"Angela Lansbury’s return to the West End, after an absence of nearly 40 years, is something to treasure...Whenever she’s onstage there is a happy mix of substance and scene-stealing: she captures the character’s self-importance but also her frivolity." Henry Hitchings for The Evening Standard
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Théâtre
Revival
30) Strangers on a Train (Revival)
Joué durant 3 mois
Première preview: 02 November 2013
Première: 19 November 2013
Dernière: 22 February 2014
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Divers •
Metteur en scène: Robert Allan Ackerman •
Chorégraphe:
Avec: Laurence Fox (Guy Haines), Jack Huston (Charles Bruno), Christian Mckay (Gerard), Miranda Raison (Anne), Imogen Stubbs (Elsie), Myanna Buring (Miriam)
Commentaire:
Presse:
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Théâtre
Revival
29) Private lives (Revival)
Joué durant 2 mois 2 semaines
Première preview: 22 June 2013
Première: 03 July 2013
Dernière: 21 September 2013
Compositeur:
Parolier:
Libettiste: Noël Coward •
Metteur en scène: Jonathan Kent •
Chorégraphe:
Avec: Toby Stephens (Elyot Chase), Anna Chancellor (Amanda Prynne), Anthony Calf (Victor Prynne), Anna-Louise Plowman (Sibyl Chase)
Commentaire:
Presse: "Deliciously fresh revival." Henry Hitchings for The Evening Standard
"Dazzling, razor-sharp revival " Paul Taylor for The Independent
"The lack of raw passion might not matter so much if Kent's production had the lightness of touch to get away with it, but after a sublimely delicate first act, he loses his hold on the comedy." Lyn Gardner for The Guardian
"This is a comedy that in Jonathan Kent’s superb production feels forever young, fresh and delightful...This is a gloriously entertaining evening, opulently designed by Anthony Ward, and offering two hours of comic bliss." Charles Spencer for The Daily Telegraph
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Théâtre
Original
28) Audience (The) (Original)
Joué durant 3 mois 1 semaine
Première preview: 15 February 2013
Première: 05 March 2013
Dernière: 15 June 2013
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Divers •
Metteur en scène: Stephen Daldry •
Chorégraphe:
Avec: Helen Mirren (Queen Elizabeth II), Haydn Gwynne (Margaret Thatcher), Edward Fox (Winston Churchill - Robert Hardy had to withdraw because of injury), Paul Ritter (John Major), Michael Elwyn (Anthony Eden), Richard McCabe (Harold Wilson), Nathaniel Parker (Gordon Brown), Rufus Wright (David Cameron), David Peart (James Callaghan), Geoffrey Beevers (The Equerry ), Jonathan Coote, Ian Houghton, Charlotte Moore
Commentaire:
Presse: "Marvellous...The Audience is often wonderfully funny, with the Queen proving a deft mistress of the verbal barb, but also genuinely moving...a pitch-perfect production. " Charles Spencer for Daily Telegraph
"However hard Morgan tries, the evening can't help but seem like a series of revue sketches: a kind of '1956 And All That'. What holds it together is Stephen Daldry's adroit production and Helen Mirren's luminous performance, which, even in a non-linear script, pins down the Queen's steady growth in confidence and authority." Michael Billington for The Guardian
"Hugely enjoyable...a right-royal great night out." Paul Taylor for The Independent
"For all the good looks and neatness of Daldry’s staging, it’s hard not to feel that the play could be more dynamic. It resembles a set of sketches, albeit with strong thematic links. Still, they add up to an absorbing whole." Henry Hitchings for The Evening Standard
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West End Transfer
27) Chariots of fire (West End Transfer)
Joué durant 7 mois
Première preview: 23 June 2012
Première: 03 July 2012
Dernière: 02 February 2013
Compositeur:
Parolier:
Libettiste:
Metteur en scène: Edward Hall •
Chorégraphe: Scott Ambler •
Avec: Jack Lowden (Eric Liddell) and James McArdle (Harold Abrahams), David Beams (Head Porter/Reverend Liddell/Foster/Lord Cadogan), Isabella Calthorpe (Florence Mackenzie), Gareth Charlton (Jackson Scholz), Henry Davis (Charlie Paddock), Lloyd Everitt (Athlete), Zac Fox (Aubrey Montague), Daniel Fraser (Athlete/Jim), Nickolas Grace (Master Of Trinity/Duke of Sutherland/Colonel Keddie), Leigh Lothian (Jennie Liddell), David McGranaghan (President of Gilbert & Sullivan/Colin), Aki Omoshaybi (Athlete/Reg), Matthew Pearson (Sandy McGrath), Savannah Stevenson (Sybil Gordon), Paul Tinto (Secretary of the Gilbert and Sullivan Society), Dylan Turner (Athlete/Mr Ratcliffe ), Gabriel Vick (Robin/HRH The Prince of Wales), Simon Williams (Master of Caius), Tam Williams (Lord Andrew Lindsay) and Nicholas Woodeson (Sam Mussabini)
Commentaire:
Presse:
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Original London
26) Ladykillers (The) (Original London)
Joué durant 4 mois 1 semaine
Première preview: 26 November 2011
Première: 07 December 2011
Dernière: 14 April 2012
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Divers •
Metteur en scène: Sean Foley •
Chorégraphe:
Avec: Peter Capaldi (Professor Marcus), James Fleet (Major Courtney), Ben Miller ( Louis), Clive Rowe (One Round), Stephen Wight (Harry), Marcia Warren (Mrs Wilberforce)
Commentaire: Sera repris au Vaudeville Theatre en 2013 avec une autre distribution. (plus)
Presse: "The show works and, at its considerable best, works triumphantly. Just the sight of the crooked, dottily eccentric house occupied by the sweet and unsuspecting Mrs Wilberforce raises a smile." Charles Spencer for The Telegraph
"A very different animal from the 1955 movie; and, while it may lack the Ealing touch, it works very well as a slapstick farce.." Michael Billington for The Guardian
"Affectionate yet brightly original adaptation of a classic Ealing comedy dating from 1955." Henry Hitchings for The Evening Standard
"This inspired adaptation that converts the proceedings into a hilarious send-up of loony, slapstick farce." Paul Taylor for The Independent
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Revival
25) Yes, Prime Minister (Revival)
Joué durant 2 mois
Première preview: 20 September 2011
Première: 20 September 2011
Dernière: 19 November 2011
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Divers •
Metteur en scène: Jonathan Lynn •
Chorégraphe:
Avec: Simon Williams (Sir Humphrey), Richard McCabe (The Prime Minister, Jack Hacker)
Commentaire: Transfert à Londres de la production du Chichester Festival Theatre.
Adaptation à la scène de la Sitcom TV.
Créé à Londres au Gielgu Theatre en sptembre 2010 puis repris à l'Apollo Theatre (été 2011), au Gielgud Theatre (automne 2011) et au Trafalgar Studio 1 (de juin 2012 à janvier 2013) (plus)
Presse: "Now making its second West End appearance, the piece is still funny." Michael Billington for The Guardian
"Much to enjoy in Lynn’s sharply directed production...a highly entertaining evening." Charles Spencer for The Daily Telegraph
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Musical
Original London
24) Lend Me a Tenor (Original London)
Joué durant 1 mois 3 semaines
Première preview: 02 June 2011
Première: 15 June 2011
Dernière: 06 August 2011
Compositeur: Brad Carrol •
Parolier: Peter Sham •
Libettiste: Peter Sham •
Metteur en scène: Ian Talbot •
Chorégraphe: Randy Skinner •
Avec: Matthew Kelly (Henry Saunders), Joanna Riding (Maria Marelli), Damian Humbley (Max), Michael Matus (Tito Merelli), Sophie-Louise Dann (Diana Divane), Cassidy Janson (Maggie Saunders), Gay Soper, Jane Quinn , Michelle Bishop will star as the 'Ladies of the Opera Guild', Jemma Alexander, Karen Aspinall, Natasha J. Barnes, Nick Butcher, Kelly Chinery, Sharon Eckman, Daniel Farrow, Andrew Keelan, Kara Lane, Connor McAllister, Haydn Oakley, Stephen Oliver-Webb, Ryan Pidgen, Jeremy Secomb, Emma Sewell, John Stacey, Robert Traynor, Michelle White.
Commentaire: The show originally had a try-out at the Theatre Royal Plymouth on September 24th 2010, and was re-worked for a West End production, previewing from June 2nd. It received very mixed notices (though the producers claimed they were “mostly wonderful”) with several critics pointing out that a musical farce is hard to achieve: farce requires break-neck action, while the songs and dances tend to slow things down. For some, the songs were too bland, and Ken Ludwig’s original hugely successful play had gained nothing by being turned into a musical. For others, it was a good-hearted show that had the audiences roaring with laughter.
However, business dropped, and although bookings were being taken until November 19th, the producers decided to cut their losses and close the production on August 6th. (plus)
Presse: "It’s all passably entertaining – if you’re prepared to accept this light-hearted and sometimes laboured mix of high art, high jinks and hokum for the fluff and nonsense it is. The songs – with flip, throwaway lines – are barely memorable, the dance sequences fine but infrequent and emotions are brought to the boil with all the sophistication of four-minute pasta."
Dominic Cavendish for The Daily Telegraph
"It gets by on period charm and one dazzling knockout number."
Michael Billington for The Guardian
"Polished but instantly forgettable musical...It skips along breezily without a single memorable tune or unforced rhyme."
Nick Curtis for The Evening Standard
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Musical
Revival
23) Parapluies de Cherbourg (Les) (Revival)
Joué durant 1 mois 4 semaines
Nb de représentations: 71 représentations
Première preview: 05 March 2011
Première: 22 March 2011
Dernière: 21 May 2011
Compositeur: Michel Legrand •
Parolier:
Libettiste: Charles Burr • Jacques Demy • Sheldon Harnick •
Metteur en scène: Emma Rice •
Chorégraphe: Emma Rice •
Avec: Meow-Meow (Maitresse), Carly Bawden (Genevieve), Andrew Durand (Guy), Joanna Riding (Madame Emery), Dominic Marsh (Aunt Elise), Gareth Charlton, Aki Omoshabyi & Matt Willman (Sailors and Puppeteers), Cynthia Erivo, Laura Brydon, Gillian Budd, Chris Jenkins.
Commentaire: This was a completely new adaptation of the Jacques Demy film “Les parapluies de Cherbourg”, which had been a complete flop in London in 1980. This new version fleshed out the story, framing it with a “narrator” in the person of Meow Meow, the cabaret artist, and rather bizarrely casting a man in the role of Guy’s Aunt Elise, as well as frequent use of a trio of hunky dancing French sailors. Like the film it remained a “sung-through” piece with a lot of sung dialogue. With the use of puppets, UV scenery, a toy car, it tended to mystify the critics rather than annoy them. It was created by the same team that had translated the film “Brief Encounter” into a West End and Broadway stage success. However, this time they failed. It had opened for try-outs at Leicester’s Curve Theatre in February, and began previews at the Gielgud on March 5th. Originally advance bookings were being accepted up to October 1st, but the show was taken off on May 21st - after an eight week run. (plus)
Presse: "It's all rather insipid and bitty - the film's colour is lost, and little is added."
Henry Hitchings for The Evening Standard
"Watching the stage version is like seeing a Technicolor film rendered in black and white...A strangely prosaic attempt to capture the elusive poetry of the Demy original."
Michael Billington for The Guardian
"There is only one decent song amid the interminable recitative. Legrand’s I Will Wait for You is certainly a dreamily romantic melody, but a musical with only one great number seems to me to be short-changing its audience...I found this an impossible show to love. Even the poignant ending feels like too little, too late. "
Charles Spencer for The Daily Telegraph
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Original London
22) Yes, Prime Minister (Original London)
Joué durant 3 mois 2 semaines
Première preview: 17 September 2010
Première: 27 September 2010
Dernière: 15 January 2011
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Divers •
Metteur en scène: Jonathan Lynn •
Chorégraphe:
Avec: Henry Goodman (Sir Humphrey Appleby), David Haig (Prime Minister Jim Hacker)
Commentaire: Transfert à Londres de la production du Chichester Festival Theatre.
Adaptation à la scène de la Sitcom TV.
Sera repris à l'Apollo Theatre (été 2011), au Gielgud Theatre (automne 2011) et au Trafalgar Studio 1 (de juin 2012 à janvier 2013) (plus)
Presse:
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Musical
Revival
21) Hair (Revival)
Joué durant 4 mois 3 semaines
Nb de représentations: 165 représentations
Première preview: 01 April 2010
Première: 14 April 2010
Dernière: 04 September 2010
Compositeur: Galt MacDermot •
Parolier: Gerome Ragni • James Rado •
Libettiste: Gerome Ragni • James Rado •
Metteur en scène: Diane Paulus •
Chorégraphe: Karole Armitage •
Avec: Gavin Creel (Claude), Will Swenson (Berger), Caissie Levy (Sheila), Kacie Sheik (Jeanie), Darius Nichols (Hud), Sasha Allen (Dionne), Allison Case (Crissy), Luther Creek (Woof) , Megan Lawrence (Mother), Andrew Kober (Dad/Margaret Mead), Ato Blankson-Wood, Steel Burkhardt, Lauren Elder, Allison Guinn, Anthony Hollock, Kaitlin Kiyan, John Moauro, Brandon Pearson, Megan Reinking, Maya Sharpe, Matt DeAngelis, Phyre Hawkins, Crystal Joy, Kevin Kern , Michael James Scott, Hannah Shankman.
Commentaire: This revival opened on Broadway in March 2009 and was almost universally acclaimed. It went on to win several awards including the Tony Award for Best Musical Revival. Within six months it had recouped its entire $5,760,000 investment, becoming one of the fastest-recouping musicals in Broadway history. After a year’s run, the original cast transferred to London and a mostly new tribe took over on Broadway. However, Broadway sales dropped with this cast change and the show closed on June 27, 2010 after 29 previews and 519 regular performances. (A touring version then ran for fourteen months through the USA returning to Broadway for ten weeks in the summer of 2011)
Most of the original cast transferred to London where the show received very enthusiastic reviews and a tremendous audience reaction. Under Equity rules the American performers were only allowed to play for six months, after which they would need to be replaced by English performers. Cameron Mackintosh decided against re-casting, and the show closed on September 4, 2010 after 12 previews and 165 regular performances. (plus)
Presse: "A vibrant, joyous piece of living theatre." Michael Billingtion for The Guardian
"Exuberant revival" Henry Hitchings for The Evening Standard
"It’s exhilarating, as well as oddly poignant...unstoppable energy and ebullient choreography." Benedict Nightingale for The Times
"Theatrical bliss." Charles Spencer for The Daily Telegraph
"Joyous production." Michael Coveney for The Independent
"Diane Paulus’ direction is snappy and seamless, complimented perfectly by Karole Armitage’s lively choreography." Paul Vale for The Stage
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Original London
20) Avenue Q (Original London)
Joué durant 9 mois 2 semaines
Nb de représentations: 327 représentations
Première preview: 01 June 2009
Première: 01 June 2009
Dernière: 13 March 2010
Fait partie de: London Run
Compositeur: Jeff Marx • Robert Lopez •
Parolier: Jeff Marx • Robert Lopez •
Libettiste: Jeff Whitty •
Metteur en scène:
Chorégraphe:
Avec:
Commentaire:
Presse: MICHAEL BILLINGTON for THE GUARDIAN says, "it had delighted me sufficiently...Much of the show's charm lies in the easy interaction of people and puppets...There is more wit than whimsy in the delightful Lopez-Marx numbers." PAUL TAYLOR for THE INDEPENDENT says, "What's appealing about the piece and Jason Moore's bouncy, enjoyable production is the total absence of jaded cynicism. What's less attractive is the lack of real bite...Avenue Q is about as genuinely subversive as Friends...All the same, I found it, intermittently, a lot of fun." DOMINIC CAVENDISH for THE DAILY TELEGRAPH says, "Light-weight affair." BENEDICT NIGHTINGALE for THE TIMES says, "There’s something almost refreshing in several of the jaunty-sounding songs." NICK CURTIS for THE EVENING STANDARD says, "Avenue Q's puppets tell racist jokes, screw around, download porn and generally get depressed by their crappy lives...very well executed and sporadically hilarious " BRIAN LOGAN for TIME OUT says, "Very easy to enjoy." LISA MARTLAND for THE STAGE says, "Clever and saucy libretto...Within an extraordinarily talented ensemble Julie Atherton and Jon Robyns are quite brilliant in creating these puppet personalities." SUSANNAH CLAP for THE OBSERVER says, "It's a little bit smart , fairly shrewd and self-parodying , constantly perky, sometimes funny and basically mushy."
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Parolier: Jeff Marx • Robert Lopez •
Libettiste: Jeff Whitty •
Metteur en scène:
Chorégraphe:
Avec:
Musical
Revival
19) Pirates of Penzance (The) (Revival)
Joué durant 1 semaine
Première preview: 18 February 2008
Première: 18 February 2008
Dernière: 01 March 2008
Compositeur: Arthur Sullivan •
Parolier: W.S. Gilbert •
Libettiste: W.S. Gilbert •
Metteur en scène: Peter Mulloy •
Chorégraphe:
Avec: Barry Clark (Major General), Beverley Klein (Ruth), David Curry (Frederic), Deborah Meyers (Mabel), Jo Brand (Sergeant of Police), Lesley Cox ( Kate), Michael Kerry (Samuel), Sophie-Louise Dann (Edith), Steven Page (Pirate King), Victoria Ward (Isabel)
Commentaire:
Presse:
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Musical
Revival
18) Iolanthe (Revival)
Joué durant
Première preview: 11 February 2008
Première: 11 February 2008
Dernière: 16 February 2008
Compositeur: Arthur Sullivan •
Parolier: W.S. Gilbert •
Libettiste: W.S. Gilbert •
Metteur en scène: Peter Mulloy •
Chorégraphe: Peter Mulloy •
Avec: Steven Page (Lord Chancellor), Bruce Graham (Earl of Mountararat) , Barry Clark (Earl Tolloller ), Donald Maxwell/Gareth Jones (Stephon), Maria Ewing (Queen of the Fairies), Sophie-Louisa Dann (Iolanthe), Lesley Cox (Celia), Jane Quinn (Fleta), Charlotte Page (Phyllis)
Commentaire:
Presse:
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Revival
17) Mikado (The) (Revival)
Joué durant 1 mois
Première preview: 30 January 2008
Première: 30 January 2008
Dernière: 01 March 2008
Compositeur: Arthur Sullivan •
Parolier: W.S. Gilbert •
Libettiste: W.S. Gilbert •
Metteur en scène: Peter Mulloy •
Chorégraphe: Peter Mulloy •
Avec: Alistair McGowan ( Mikado), Nichola McAuliffe (Katisha), Andrew Rees (Nanki-Poo), Fenton Gray (Ko-Ko), Bruce Graham (Pooh-Bah), Steven Page (Pish-Tush), Charlotte Page (Yum-Yum) , Sophie-Louise Dann (Pitti-Sing), Lesley Cox (Peep-Bo)
Commentaire:
Presse:
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Revival
16) Tell me on A Sunday (Revival)
Joué durant 10 mois
Première preview: 04 April 2003
Première: 15 April 2003
Dernière: 14 February 2004
Compositeur: Andrew Lloyd Webber •
Parolier: Don Black •
Libettiste:
Metteur en scène: Matthew Warchus •
Chorégraphe: Aucun •
Avec: Denise van Outen
Commentaire: Originally part of the “Song and Dance” double-bill staged at the Palace Theatre over 20 years ago, this had now been expanded into a stand-alone piece. It had been substantially updated (to include the internet, e-mails and mobile phones) and re-written, with the unnamed girl writing home to Mum in Ilford (originally it was Muswell Hill - in 1982 Marti Webb was far more Jewish than Essex girl Denise van Outen). The show was still presented as a one-act song-cycle, now running for 90 minutes. There was much praise for Denise van Outen, and although the material itself received a mixed reaction, the show ran ten months. The BBC critic observed, "This may be the smallest show Lloyd Webber's ever written, but the score (to appropriately conversational lyrics by Don Black) contains several of his very best songs."
During the run Marti Webb returned to her old part and, following the West End run, subsequently toured the UK with the show, alternating with Faye Tozer and Patsy Palmer. (plus)
Presse: MICHAEL BILLINGTON for THE GUARDIAN says, "Although it has some good songs, it seems a slight piece that is scarcely rendered more plausible by the presence of the sassy, sexy Denise Van Outen."
RHODA KOENIG for THE INDEPENDENT says, "Lloyd Webber's music is laughably trite. Van Outen seems a nice girl, but her singing and acting are very average."
BENEDICT NIGHTINGALE for THE TIMES says, " She’s [Van Outen] at her best when Don Black’s often adroit, witty lyrics allow her to be sharp, funny and derisive about men."
CHARLES SPENCER for THE DAILY TELEGRAPH says, "It's trite, it's sentimental, it is profoundly second-rate."
NICK CURTIS for THE EVENING STANDARD says, "It feels old. Without Van Outen, I suspect it would feel even older."
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Original
15) Boyband (Original)
Joué durant 2 mois 1 semaine
Première preview: 27 May 1999
Première: 08 June 1999
Dernière: 14 August 1999
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Divers •
Metteur en scène: Peter Rowe •
Chorégraphe: Emma Victoria •
Avec: Kevin Andrew (Adam), Tom Ashton (Matt), Daniel Crossley (Danny), Damien Flood (Sean), Stepps (Jay), Bryan Murray (Wayland), William Oxborrow, Caroline Head, Richard Taylor-Woods, Hay ley Tarmaddon
Commentaire: This was a cross between a rock concert and a documentary account of the rise and tribulations of a fictitious boy band. Five boys, Adam, Matt, Danny, Sean and Jay are moulded into a pop-group called Freedom under the control of Wayland, their exploitative promoter. Their contract forbids smoking, drinking and sex, since nothing must threaten their squeaky-clean image. Along the way they have to deal with one band member’s drug problem, and another’s emerging homosexuality, and a developing hatred between two of the boys. All in all this story bore many similarities to real-life stories from existing groups like Take That and others. However, ultimately it was the final concert that had the audience screaming for more, since these boys really could produce the goods. As one of the critics asked, “When did you last see a boy band that can really sing?”. It ran for just ten weeks. (plus)
Presse: THE DAILY MAIL says, "The songs are high quality anodyne pop, as good as anything you hear in the charts."
THE INDEPENDENT says, "The plot is anorexic, and the stars are two-dimensional: so I predict, with the deepest depression, that this musical will go far. "
THE DAILY EXPRESS says, "For all its earnest youth full athleticism, I'm afraid it's a gig with a limp."
THE DAILY TELEGRAPH says, "Almost all musicals depend on the quality of the book and Peter Quilter's script is a disgrace."
TIME OUT says, "Peter Quilter's book is pure pantomime, and audience responses range from surreal to excruciatingly funny."
THE STAGE says, "Peter Rowe directs this noisy, simplistic but oddly engaging show with considerable panache."
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West End Transfer
14) Romance Romance (West End Transfer)
Joué durant 1 mois 2 semaines
Nb de représentations: 54 représentations
Première preview: 27 February 1997
Première: 04 March 1997
Dernière: 19 April 1997
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Divers •
Metteur en scène: Steven Dexter •
Chorégraphe: Mitch Sebastian •
Avec: Mark Adams (Alfred/Sam), Caroline O’Connor (Josefine/Monica), Linzi Hately, Michael Cantwell
Commentaire: This was a transfer (with mostly a new cast) of the much-praised fringe production at the Bridewell from the previous September. However, what had been delightful in the tiny Bridewell, now seemed “a balding musical on a low budget” in the West End. It ran for just over six weeks. (plus)
Presse:
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Original London
13) Mama, I Want to Sing! (Original London)
Joué durant 1 mois 1 semaine
Nb de représentations: 38 représentations
Première preview: 13 June 1995
Première: 13 June 1995
Dernière: 22 July 1995
Fait partie de: London Run
Compositeur: Westly Nailer •
Parolier: Ken Wydro • Vy Higginsen •
Libettiste: Ken Wydro • Vy Higginsen •
Metteur en scène: Vy Higginsen • Ken Wydro •
Chorégraphe: Richard Sampson •
Avec: Doris Troy (Mama Winter), Howard McCrary (Reverend Winter). Stacy Francis (Young Doris), Joanne Campbell (Narrator), Chaka Khan (Sister Carrie), Charles Stewart (Minister of Music)
Commentaire: This show held the record as the longest running all-black off-Broadway show, running for eight years, playing to over 3 million people and taking something like £38 million at the box office in stagings through Europe, Asia and Japan. The part of Doris Troy’s mother was played by Doris Troy herself, and the company included a 15 voice gospel choir. Generally the critics hated it! “Over-amplified, over-long, under-written, uninspired” (Sunday Express), “you end up aching for Motown and wishing the show had been about Diana Ross. Or even Jonathan Ross” (Michael Coveney in “The Observer”.)
Transfered from Cambridge Theatre (plus)
Presse:
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Parolier: Ken Wydro • Vy Higginsen •
Libettiste: Ken Wydro • Vy Higginsen •
Metteur en scène: Vy Higginsen • Ken Wydro •
Chorégraphe: Richard Sampson •
Avec: Doris Troy (Mama Winter), Howard McCrary (Reverend Winter). Stacy Francis (Young Doris), Joanne Campbell (Narrator), Chaka Khan (Sister Carrie), Charles Stewart (Minister of Music)
Transfered from Cambridge Theatre (plus)
Le "Globe" Theatre change de nom: "Gielgud" Theatre
En 1994, en prévision de l'ouverture en 1997 de la reconstruction du théâtre du Globe de Shakespeare sur la rive sud, et pour éviter toute confusion, le théâtre a été rebaptisé le Gielgud Theatre en l'honneur de John Gielgud.
Musical
West End Transfer
12) Valentine's Day (West End Transfer)
Joué durant 3 semaines
Nb de représentations: 28 représentations
Première preview: Inconnu
Première: 17 September 1992
Dernière: 10 October 1992
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Divers •
Metteur en scène: Gillian Lynne •
Chorégraphe: Gillian Lynne •
Avec: Elizabeth Counsell (Mrs Clandon), John Turner (Crampton Clandon), Teresa Banham (Gloria), Edward Petherbridge (Walter), Alexander Hanson (Valentine), Edward de Souza, Amanda Dainty, Eileen Battye, Nicky Adams
Commentaire: Based on George Bernard Shaw’s play “You Never Can Tell”, this had originated at the Minerva Studio in Chichester. It did not transfer comfortably to the larger Globe Theatre, and received very mixed reviews. It came off very quickly. (plus)
Presse:
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West End Transfer
11) Blue Angel (The) (West End Transfer)
Joué durant 1 mois 1 semaine
Nb de représentations: 45 représentations
Première preview: Inconnu
Première: 20 May 1992
Dernière: 27 June 1992
Compositeur:
Parolier:
Libettiste: Pam Gems •
Metteur en scène: Trevor Nunn •
Chorégraphe: David Toguri •
Avec: Kelly Hunter (Lola), Philip Madoc (Professor Raat), Judith Bruce, Sidney Livingstone, Peter-Hugo Daly, Cheryl Ferguson, Sarah Flind,
Commentaire: Based on Josef von Sternberg’s famous film with Marlene Dietrich, this began at the RSC’s studio at Stratford-upon-Avon in 1991 and was then brought to London. By coincidence Marlene Dietrich herself had died just prior to the opening night. Despite some excellent central performances, it was generally felt that this “studio” show did not really work now that it had transferred to a full-size theatre. (plus)
Presse:
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Revival
10) Sophisticated Ladies (Revival)
Joué durant 2 semaines
Nb de représentations: 24 représentations
Première preview: Inconnu
Première: 06 January 1992
Dernière: 25 January 1992
Compositeur: Duke Ellington •
Parolier: *** Divers •
Libettiste: Donald McKayle •
Metteur en scène: Roger Haines •
Chorégraphe: Gillian Gregory •
Avec: Jacquie Boatswain, Sergio Covino, Jacqueline Dankworth, Janie Dee, Jacqui Dubois, Martin Eyre, Dollie Henry, Horace Oliver, Neil Patterson, Jon Peterson, Rebecca Thornhill, Richie Pitts
Commentaire: The London show simply failed to catch on, and closed within three weeks. (plus)
Presse:
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Original
9) Mitford Girls (The) (Original)
Joué durant
Nb de représentations: 105 représentations
Première preview: Inconnu
Première: 08 October 1981
Dernière: Inconnu
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Divers •
Metteur en scène: Patrick Garland •
Chorégraphe: Lindsay Dolan •
Avec: Patricia Hodge (Nancy & Muv), Lucy Fenwick (Jessica), Colette Gleeson (Unity), Patricia Michael (Diana), Gay Soper (Deborah), Julia Sutton (Pamela & Nanny Blore), Oz Clarke (Tom, Hamish, Farve, Peter Rodd), Martin Chamberlain (Esmond, Consul, Hitler)
Commentaire: First performed at the Chichester Festival Theatre July 8th. The critics hated it: “Brahms and Sherrin, having thoroughly processed their tasteless, textureless, bland and flavourless fakery, next proceed to douse it to saturation point in the more familiar sentimental melodies of the period.” (plus)
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8) Songbook (A tribute to Mooney Shapiro) (Original)
Joué durant
Nb de représentations: 208 représentations
Première preview: Inconnu
Première: 25 July 1979
Dernière: Inconnu
Compositeur: Monty Norman •
Parolier: Julian More •
Libettiste:
Metteur en scène: Jonathan Lynn •
Chorégraphe: Gillian Lynne •
Avec: David Healey (Mooney Shapiro), Anton Rodgers, Gemma Craven, Diane Langton, Andrew C.Wadsworth
Commentaire: An absolute delight, this show received mountains of praise, but a whole evening of parody of film and musical theatre could only truly be enjoyed by an audience who understood what was being parodied. After 268 performances it finally ran out of audience. (plus)
Presse:
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Revival
7) Long Day's Journey into Nigth (Revival)
Joué durant 2 mois 3 semaines
Nb de représentations: 68 représentations
Première preview: Inconnu
Première: 21 December 1971
Dernière: 11 March 1972
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Divers •
Metteur en scène: Michael Blakemore •
Chorégraphe:
Avec: Laurence Olivier, Constance Cummings, Denis Quilley, Ronald Pickup
Commentaire: Cette série de représentations hors siège du National, se reprendront à l'Old Vic (siège du NT à l'époque) en août 1972. (plus)
Presse:
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Théâtre
Revival
6) Danton's Death (Revival)
Joué durant 3 mois 3 semaines
Nb de représentations: 39 représentations
Première preview: Inconnu
Première: 03 August 1971
Dernière: 27 November 1971
Compositeur:
Parolier:
Libettiste: Georg Büchner •
Metteur en scène: Jonathan Miller •
Chorégraphe:
Avec: Christopher Plummer, Gillian Barge, Louise Purnell, Frank Barrie, Tom Georgeson, Charles Kay, Ronald Pickup, Anna Carteret, Paul Curran
Commentaire:
Presse:
Plus d'infos sur cette production:
Plus d'infos sur ce musical
Théâtre
Original
5) Tyger (Original)
Joué durant 4 mois
Nb de représentations: 39 représentations
Première preview: Inconnu
Première: 20 July 1971
Dernière: 20 November 1971
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Divers •
Metteur en scène: Michael Blakemore • John Dexter •
Chorégraphe:
Avec: Denis Quilley, Gerald James, David Ryall, John Moffatt, Anthony Nicholls, Jane Wenham, Michael Turner, Maureen Lipman, Hazel Hughes, Denis Lill, Riggs O'Hara, Norman Beaton, Bernard Gallagher, Bill Fraser, Jean Boht
Commentaire:
Presse:
Plus d'infos sur cette production:
Théâtre
Revival
4) Amphytrion 38 (Revival)
Joué durant 4 mois 2 semaines
Nb de représentations: 47 représentations
Première preview: Inconnu
Première: 23 June 1971
Dernière: 08 November 1971
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Divers •
Metteur en scène: Laurence Olivier •
Chorégraphe:
Avec: Christopher Plummer, Geraldine McEwan, Constance Cummings, Richard Kay, Jeanne Watts
Commentaire:
Presse:
Plus d'infos sur cette production:
Théâtre
Revival
3) Rules of the Game (The) (Revival)
Joué durant 5 mois
Nb de représentations: 58 représentations
Première preview: Inconnu
Première: 15 June 1971
Dernière: 16 November 1971
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Divers •
Metteur en scène: Anthony Page • Robert Rietty •
Chorégraphe:
Avec:
Commentaire: Cette production du NT a été jouée au New Theatre (actuellement le Gielgud Theatre) (plus)
Presse:
Plus d'infos sur cette production:
Théâtre
Original London
2) Biography (Original London)
Joué durant 1 mois 1 semaine
Nb de représentations: 45 représentations
Première preview: Inconnu
Première: 25 April 1934
Dernière: 02 June 1934
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Divers •
Metteur en scène: Noël Coward •
Chorégraphe:
Avec: Ina Claire, Laurence Olivier (Richard Kurt)
Commentaire:
Presse:
Plus d'infos sur cette production:
