Londres
Harold Pinter Theatre
Londres - Angleterre
Construction: 1881
Topologie du théâtre
Nombre de salles actives: 1
Salle 1: () 1881 - Actif
Accès
En métro: Piccadilly Circus
En bus: 14, 19, 22, 24, 29, 38, 40, 176
Adresse: 6 Panton Street, London, SW1Y 4DN
Evolution
Bâtiment: 1881. Theatre designed by Thomas Verity for Alexander Henderson / Statutorily Listed Historic Building: Grade II
Nom: Comedy Theatre / Royal Comedy Theatre
Propriétaire(s)
Ambassador Theatre Group
Remarquable
Eclectic classical façade on Panton Street / Three-tier cast-iron-columned horseshoe auditorium / Collection of memorabilia exhibited in the theatre
1881 - Actif
Panton Street takes its name from Colonel Thomas Panton, a friend of Charles II. Something of a blackguard, a swindler and a gambler, he acquired an interest in four acres of land between Leicester Square and Haymarket, legally owned by Robert Baker, a tailor. Also associated with the land was Sir Henry Oxenden, Baker’s son-in-law, who contrived to establish joint ownership with Panton in 1669 following his inheritance of a life interest in the plot on Baker’s death - carefully excluding Baker's descendants - and by the early 1670s building was under way. Two four- storey houses, still standing next to the theatre on Its western side (although modernized externally in the mld-19th century), may well date from that 17th-century building activity. Also of interest in the street scene is the faience-fronted Tom Cribb pub, which perpetuates the name of the Gloucestershire-born coal porter who became a respected English bare-knuckle boxing champion in the 1800s.
Although much altered, the Comedy, which dates from 1881, remains one of the prettiest theatres In London. It was financed by owner J. H. Addison for manager and lessee Alexander Henderson, and designed by Thomas Verity, who had already built the Criterion Restaurant and Theatre on Piccadilly Circus in 1874. Verity’s valuable early experience was gained with Captain Francis Fowke, working on what was to become the Victoria and Albert Museum (1865) and the Royal Albert Hall (1871). He died in 1891 at the age of just 54, leaving his son, F. T. Verity, to carry on his architectural practice.
The front of the theatre, on its comer site with Oxenden Street, Is almost provincial in scale - reminiscent of, say, the Theatre Royal, Bristol, or the (now demolished) Theatre Royal, Leicester; of painted stone in an eclectic classical style, it originally housed a triple-arched entrance, but this has been replaced by grouped doorways In a channelled base under a mld-20th-century cantilevered canopy. The upper storeys are articulated by pilasters supporting an entablature and pediment. Between the pilasters at first-floor level are two archltraved window openings and a blind central window occupied by a draped female figure carrying a flaming torch, each under an oeil-de-boeuf.
Extensive alterations were made to the building in 1911, 1933 and again in 1955, but were generally restricted to the areas In and around the foyer and bars, leaving the three-tier iron-columned horseshoe¬shaped auditorium virtually unaltered. The square architraved proscenium is flanked by shallow bow- fronted boxes, with palmette enrichment extending along the balcony fronts. In the decorative domed celling are the remains of a gas sunbumer, a multi- flame burner which could be raised and lowered by winch from above; since the era of gaslight it has been replaced by a chandelier. Yellow and gold combined with modem lilac and gold have replaced the original white and gold decoration. The disused balcony bar, now a plant room, retains vestiges of Its 19th-century decoration, with red panels divided by yellow ochre banding on a green dado.
The theatre houses a superb array of photographs, programmes and playbills, including a programme for the first production, In October 1881, of The Mascotte, starring Miss Violet Cameron. Among more recent actors and actresses to star at the Comedy are Susannah York, the late Sir Alec Guinness, Stephanie Cole, Dame Maggie Smith, Michael Gambon, Maureen Lipman and Ewan McGregor. A plaque in the Royal Circle Bar records that the inaugural meeting of the Lords Taverners was held here on 3 July 1950.
1881. Theatre designed by Thomas Verity for Alexander Henderson / Statutorily Listed Historic Building: Grade II
Infos complémentaires:
The Stalls is designed as a deep undivided section with an average of 21 seats per row. A significant division is created however by two pillars situated in row M, affecting the view of many seats to the rear of the section. Seats in front of the pillar offer good views of the stage, particularly those towards the centre. Seats are not significantly raked, so some audience obstruction may occur throughout the section.
Unlike most theatres the width of the front row is the same size as the stage, meaning seats in the first four rows at either end can be restricted as the floor may be missed. Depending on the production these seats are discounted or sold as Day Seats, justifying the obstructions with a reduced price. Seat Plan has sat in these seats on many occasions and would recommend them to those wanting a dramatic experience. Best seats in the Stalls occur just before the pillars towards the centre of each row.
Seats in the rear stalls offer varying levels of restriction, but the better seats are to the side of the pillars, in-between the end of the row and the pillar itself. Seats at the front of the Upper Circle may provide a better value for money as sight lines are clearer – we would advise you to take those seats first.
The Dress Circle is divided into three sections by vertical aisles on either side of the central block. The Seating is shallow, with only five rows and is well raked to provide good sight lines over the balcony. The Upper Circle overhang does not restrict the view from any seats, but the central pillars in row C seats 6 and 15 do. Avoid sitting directly behind or on the side blocks, or the pillar will be in constant view. Because of the curve of the balcony, seats towards the edge face slightly inwards and do not look directly at the stage. The best seats offered are in the middle section, directly centre, sitting in between the pillars. Seats in this section are not particularly comfortable, and the leg room is poor.
The Royal Circle is significantly more restricted than the Dress Circle, due to the safety rails and the shape of the balcony. The section is not divided and the seats follow the deep curve of the circle creating restrictions to the front of the stage for the end five seats on each row. A large safety rail runs the length of the circle which can be seen from all seats even those further back. The rail is in view at all times and obstructs the front of the stage.
Two thin pillars are situated between the first and second row and are in the sight lines of all but the central most seats. Although it is relatively thin, combined with the safety rail there are a lot of restrictions that can block the view of the stage. Best seats are square centre of each row. The overhang does not affect the top of the proscenium and the top of the stage is visible from most rows. Legroom is an issue at this level and the seats are uncomfortable due to the lack of aisles.
The Balcony is the only level that is not restricted by pillars, although there are safety rails in between each row and one larger one running the length of the balcony. Seats are particularly uncomfortable and can feel cramped. Seats towards the centre offer a good overall view of the stage. As with all Balcony sections the seats are very far from the action and can present sound problems in smaller more intimate plays. Seats at the ends of each row cannot see the front of the stage, and the angle may cause a problem to some audience members.
Comedy Theatre / Royal Comedy Theatre
Eclectic classical façade on Panton Street / Three-tier cast-iron-columned horseshoe auditorium / Collection of memorabilia exhibited in the theatre
Théâtre
West End Transfer
53) Watsons (The) (West End Transfer)
Joué durant 4 mois 1 semaine
Première preview: 08 May 2020
Première: 19 May 2020
Dernière: 26 September 2020
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Divers •
Metteur en scène: Samuel West •
Chorégraphe:
Avec:
Commentaire: Laura Wade’s play The Watsons, which ingeniously concludes Jane Austen’s abandoned novel of the same name, transfers to the West End’s Harold Pinter Theatre following its critically-acclaimed runs at the Menier Chocolate Factory and Chichester Festival Theatre. (plus)
Presse:
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Musical
Original
52) 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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Théâtre
Revival
51) Uncle Vanya (Revival)
Joué durant 3 mois 1 semaine
Première preview: 14 January 2020
Première: 23 January 2020
Dernière: 02 May 2020
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Divers •
Metteur en scène: Ian Rickson •
Chorégraphe:
Avec: Toby Jones (Vanya), Richard Armitage (Astrov), Dearbhla Molloy (Grandmaman), Anna Calder-Marshall (Nana), Ciaran Hinds (Professor Serebryakov), Aimee Lou Wood (Sonya), Rosalind Eleazar (Yelena), Peter Wight (Telegin).
Commentaire: Toby Jones and Richard Armitage in a revival of Uncle Vanya at the Harold Pinter Theatre. The production will feature a new adaptation of Anton Chekhov's original text by Conor McPherson.
"It's an honour to present a new translation of Anton Chekhov's masterpiece, Uncle Vanya, one of the most influential plays ever written. The river of classic plays which flow from its spring, acknowledged by Eugene O'Neill, Tennessee Williams, Arthur Miller and Brian Friel to name a few, is a monumental testament to its enduring power. And it shows no sign of abating. Chekhov's portrayal of how the rituals of our daily existence can be blindsided by thwarted desire continues to fascinate playwrights and audiences alike. Touching off that energy has been a personal privilege and I'm hugely excited to see this production come to life." Conor McPherson (plus)
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Revival
50) Ian McKellen - Tolkien, Shakespeare, Others and You (Revival)
Joué durant 3 mois 2 semaines
Première preview: 20 September 2019
Première: 20 September 2019
Dernière: 05 January 2020
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Divers •
Metteur en scène: Sean Mathias •
Chorégraphe:
Avec: Ian McKellen.
Commentaire: To celebrate his 80th Birthday, Sir Ian McKellen is bringing his one-man show, Shakespeare, Tolkien, Others and You to the West End's Harold Pinter Theatre following on an extensive tour of London and the UK visiting venues far and wide that have had a part to play in the actor's legendary career.
Taking to the stage with stories and anecdotes from his illustrious career both on stage and screen, McKellen performs reprises extracts from his most-renowned performances, which include Shakespeare's Lear and Tolkien's Gandalf from Lord of the Rings, while engaging with audience members to help craft the show.
Beginning his tour at his local arts venue The Space, McKellen will be taking the show across London to theatres including the Young Vic, Old Vic, Royal Court, Donmar Warehouse, Questor's Theatre and Theatre Royal Stratford East. He will also be performing at the Royal Shakespeare Company in Stratford-upon-Avon, where he has appeared many times throughout his career, and The Albert Halls in his hometown of Bolton. It culminates with a gala performance in the Olivier at the National Theatre on 15th September 2019.
Ian McKellen's career began in the 1960s when he made his professional debut at the Belgrade Theatre in Robert Bolt's A Man for All Seasons. His career went from strength to strength as he joined Laurence Olivier's National Theatre company at the Old Vic, with regular performances with the RSC and West End. Recent West End appearances include King Lear at the Duke of York's Theatre, Waiting for Godot at the Haymarket and No Man's Land at Wyndham's, both opposite long-time collaborator and friend Patrick Stewart.
Ian McKellen on Stage will be at the Harold Pinter Theatre from 20th September 2019 to 5th January 2020. (plus)
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West End Transfer
49) Captain Corelli's Mandolin (West End Transfer)
Joué durant 1 mois 3 semaines
Première preview: 04 July 2019
Première: 10 July 2019
Dernière: 30 August 2019
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Divers •
Metteur en scène: Melly Still •
Chorégraphe:
Avec: Alex Mugnaioni, Madison Clare, Fred Fergus, Joseph Long, Graeme Dalling, Ryan Donaldson, Ashley Gayle, Eliot Giuralarocca, Luisa Guerreiro, Kezrena James, Eve Polycarpou, John Sandeman, Stewart Scuadmore and Kate Spencer.
Commentaire: Following a critically-acclaimed run at Rose Theatre Kingston, Captain Corelli's Mandolin, based on the best-selling novel by Louis de Bernieres, will transfer to the West End at the Harold Pinter Theatre from July 2019. (plus)
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Revival
48) Betrayal (Revival)
Joué durant 2 mois 3 semaines
Première preview: 05 March 2019
Première: 13 March 2019
Dernière: 08 June 2019
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Divers •
Metteur en scène: Jamie Lloyd •
Chorégraphe:
Avec: Tom Hiddleston, Zawe Ashton and Charlie Cox
Commentaire: One of Harold Pinter’s best-known plays, Betrayal was first played in 1978.
Betrayal was first produced at the National Theatre in 1978, directed by Peter Hall and starring Penelope Wilton, Michael Gambon and Daniel Massey. It has also been seen at the Almeida Theatre in 1991, with a cast including Bill Nighy, Martin Shaw and Cheryl Campbell directed by Trevor Nunn.
The play was last seen in the West End at the Comedy Theatre (later renamed the Harold Pinter Theatre in the playwright’s honour) in 2011, where Ian Rickson’s production starred Kristin Scott Thomas, Douglas Henshall and Ben Miles. (plus)
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Revival
47) A Slight Ache (Revival)
Joué durant 2 semaines
Première preview: 31 January 2019
Première: 06 February 2019
Dernière: 23 February 2019
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Divers •
Metteur en scène: Jamie Lloyd •
Chorégraphe:
Avec: Danny Dyer, Martin Freeman
Commentaire: Danny Dyer and Martin Freeman star in the final production of Jamie Lloyd’s Pinter at the Pinter season. (plus)
Presse:
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Théâtre
Revival
46) Dumb Waiter (The) (Revival)
Joué durant 2 semaines
Première preview: 31 January 2019
Première: 06 February 2019
Dernière: 23 February 2019
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Divers •
Metteur en scène: Jamie Lloyd •
Chorégraphe:
Avec: Danny Dyer, Martin Freeman
Commentaire: Danny Dyer and Martin Freeman star in the final production of Jamie Lloyd’s Pinter at the Pinter season. (plus)
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Revival
45) Celebration (Revival)
Joué durant 3 semaines
Première preview: 20 December 2018
Première: 04 January 2019
Dernière: 26 January 2019
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Divers •
Metteur en scène: Jamie Lloyd •
Chorégraphe:
Avec: elia Imrie, Tracy-Ann Oberman, Abraham Popoola.
Commentaire: Jamie Lloyd directs two plays in the penultimate production of his Pinter at the Pinter season. (plus)
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Revival
44) Party Time (Revival)
Joué durant 3 semaines
Première preview: 20 December 2018
Première: 04 January 2019
Dernière: 26 January 2019
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Divers •
Metteur en scène: Jamie Lloyd •
Chorégraphe:
Avec: elia Imrie, Tracy-Ann Oberman, Abraham Popoola.
Commentaire: Jamie Lloyd directs two plays in the penultimate production of his Pinter at the Pinter season. (plus)
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Revival
43) Family Voices (Revival)
Joué durant 3 semaines
Première preview: 13 December 2018
Première: 03 January 2019
Dernière: 26 January 2019
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Divers •
Metteur en scène: Patrick Marber •
Chorégraphe:
Avec: Rupert Graves, Jane Horrocks, Emma Naomi, Nicholas Woodesen, Luke Thallon
Commentaire: Patrick Marber directs a triple bill of one-act Harold Pinter plays, including his very first work, runs as part of Jamie Lloyd’s Pinter at the Pinter season. (plus)
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Revival
42) Room (The) (Revival)
Joué durant 3 semaines
Première preview: 13 December 2018
Première: 03 January 2019
Dernière: 26 January 2019
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Divers •
Metteur en scène: Patrick Marber •
Chorégraphe:
Avec: Rupert Graves, Jane Horrocks, Emma Naomi, Nicholas Woodesen, Luke Thallon
Commentaire: Patrick Marber directs a triple bill of one-act Harold Pinter plays, including his very first work, runs as part of Jamie Lloyd’s Pinter at the Pinter season. (plus)
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Revival
41) Victoria Station (Revival)
Joué durant 3 semaines
Première preview: 13 December 2018
Première: 03 January 2019
Dernière: 26 January 2019
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Divers •
Metteur en scène: Patrick Marber •
Chorégraphe:
Avec: Rupert Graves, Jane Horrocks, Emma Naomi, Nicholas Woodesen, Luke Thallon
Commentaire: Patrick Marber directs a triple bill of one-act Harold Pinter plays, including his very first work, runs as part of Jamie Lloyd’s Pinter at the Pinter season. (plus)
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Revival
40) A Kind of Alaska (Revival)
Joué durant 3 semaines
Première preview: 15 October 2018
Première: 15 November 2018
Dernière: 08 December 2018
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Divers •
Metteur en scène: Jamie Lloyd •
Chorégraphe:
Avec: Keith Allen, Lee Evans, Tamsin Greig, Meera Syal
Commentaire: Jamie Lloyd’s Pinter at the Pinter season continues with a double-bill of Harold Pinter’s Landscape and A Kind of Alaska. (plus)
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Revival
39) Landscape (Revival)
Joué durant 3 semaines
Première preview: 15 October 2018
Première: 15 November 2018
Dernière: 08 December 2018
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Divers •
Metteur en scène: Jamie Lloyd •
Chorégraphe:
Avec: Keith Allen, Lee Evans, Tamsin Greig, Meera Syal
Commentaire: Jamie Lloyd’s Pinter at the Pinter season continues with a double-bill of Harold Pinter’s Landscape and A Kind of Alaska. (plus)
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Revival
38) Moonlight (Revival)
Joué durant 1 mois 1 semaine
Première preview: 01 November 2018
Première: 01 November 2018
Dernière: 08 December 2018
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Divers •
Metteur en scène: Lyndsey Turner •
Chorégraphe:
Avec: Jessica Barden, Brid Brennan, Janie Dee, Robert Glenister, Isis Hainsworth, Peter Polyarpou, Dwane Walcott, Al Weaver, Finn (live percussion).
Commentaire: The Pinter at the Pinter season continues with performances of Harold Pinter’s plays Moonlight and Night School. (plus)
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Revival
37) Night School (Revival)
Joué durant 1 mois 1 semaine
Première preview: 01 November 2018
Première: 01 November 2018
Dernière: 08 December 2018
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Divers •
Metteur en scène: Ed Stambollouian •
Chorégraphe:
Avec: Jessica Barden, Brid Brennan, Janie Dee, Robert Glenister, Isis Hainsworth, Peter Polyarpou, Dwane Walcott, Al Weaver, Finn (live percussion).
Commentaire: The Pinter at the Pinter season continues with performances of Harold Pinter’s plays Moonlight and Night School. (plus)
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Revival
36) Ashes to Ashes (Revival)
Joué durant 3 semaines
Première preview: 06 September 2018
Première: 28 September 2018
Dernière: 20 October 2018
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Divers •
Metteur en scène: Lia Williams •
Chorégraphe:
Avec: Paapa Essiedu, Kate O'Flynn, Jonjo O'Neill, Antony Sher, Maggie Steed
Commentaire: The first production of Jamie Lloyd’s complete Pinter at the Pinter season (at the Harold Pinter Theatre) features three of the playwright’s darkest one-act plays. (plus)
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Revival
35) New World Order (The) (Revival)
Joué durant 3 semaines
Première preview: 06 September 2018
Première: 28 September 2018
Dernière: 20 October 2018
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Divers •
Metteur en scène: Jamie Lloyd •
Chorégraphe:
Avec: Paapa Essiedu, Kate O'Flynn, Jonjo O'Neill, Antony Sher, Maggie Steed
Commentaire: The first production of Jamie Lloyd’s complete Pinter at the Pinter season (at the Harold Pinter Theatre) features three of the playwright’s darkest one-act plays. (plus)
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Revival
34) One for the Road (Revival)
Joué durant 3 semaines
Première preview: 06 September 2018
Première: 28 September 2018
Dernière: 20 October 2018
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Divers •
Metteur en scène: Jamie Lloyd •
Chorégraphe:
Avec: Paapa Essiedu, Kate O'Flynn, Jonjo O'Neill, Antony Sher, Maggie Steed
Commentaire: The first production of Jamie Lloyd’s complete Pinter at the Pinter season (at the Harold Pinter Theatre) features three of the playwright’s darkest one-act plays. (plus)
Presse:
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Revival
33) Collection (The) (Revival)
Joué durant 3 semaines
Première preview: 13 September 2018
Première: 27 September 2018
Dernière: 20 October 2018
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Divers •
Metteur en scène: Jamie Lloyd •
Chorégraphe:
Avec: John Macmillan, Hayley Squires, David Suchet, Russell Tovey
Commentaire: The second production in Jamie Lloyd’s Pinter at the Pinter season (at the Harold Pinter Theatre) focus on some of the writer’s more scandalous works. (plus)
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Revival
32) Lover (The) (Revival)
Joué durant 3 semaines
Première preview: 13 September 2018
Première: 27 September 2018
Dernière: 20 October 2018
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Divers •
Metteur en scène: Jamie Lloyd •
Chorégraphe:
Avec: John Macmillan, Hayley Squires, David Suchet, Russell Tovey
Commentaire: The second production in Jamie Lloyd’s Pinter at the Pinter season (at the Harold Pinter Theatre) focus on some of the writer’s more scandalous works. (plus)
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West End Transfer
31) Consent (West End Transfer)
Joué durant 2 mois 2 semaines
Première preview: 18 May 2018
Première: 29 May 2018
Dernière: 11 August 2018
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Divers •
Metteur en scène: Roger Michell •
Chorégraphe:
Avec: Heather Craney, Adam James, Claudie Blakley, Stephen Campbell Moore.
Commentaire: Nina Raine’s ‘blistering new play’ (New York Times), directed by Roger Michell, makes a triumphant and timely transfer to the Harold Pinter Theatre this May, following a sold out season at the National Theatre. (plus)
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Spectacle
Revival
30) Cirque Berserk! 2018 (Revival)
Joué durant 2 semaines
Première preview: 19 April 2018
Première: 19 April 2018
Dernière: 07 May 2018
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Divers •
Metteur en scène:
Chorégraphe:
Avec:
Commentaire: Showcasing the finest in traditional circus thrills and skills, Cirque Berserk! celebrates the 250th anniversary of the invention of Circus by bringing this treasured form of live entertainment bang up-to-date in a jaw-dropping spectacular created especially for the theatre.
Combining contemporary cirque-style artistry with adrenaline-fuelled stunt action, this astoundingly talented international troupe includes over thirty jugglers, acrobats, aerialists, dancers, drummers and daredevil stuntmen. (plus)
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Revival
29) Birthday Party (The) (Revival)
Joué durant 2 mois 3 semaines
Première preview: 09 January 2018
Première: 18 January 2018
Dernière: 14 April 2018
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Divers •
Metteur en scène: Ian Rickson •
Chorégraphe:
Avec: Toby Jones, Zoe Wanamaker, Stephen Mangan
Commentaire: Why Harold Pinter's The Birthday Party was cancelled after eight performances, but went on to become a classic? (plus)
Presse:
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West End Transfer
28) Oslo (West End Transfer)
Joué durant 2 mois 2 semaines
Première preview: 30 September 2017
Première: 11 October 2017
Dernière: 30 December 2017
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Divers •
Metteur en scène: Bartlett Sher •
Chorégraphe:
Avec:
Commentaire: Direct from a multi award-winning season on Broadway and a critically acclaimed, sold-out run at the National Theatre, the gripping political thriller Oslo arrives in the West End for a strictly limited season from 2 Oct.
Winner, Best Play at the 2017 Tony Awards (plus)
Presse: ‘Can we make peace with enemies? Oslo gives us hope.’
New York Daily News
‘Vivid and thoughtful, crackling theatre.’
New York Times
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Théâtre
27) Hamlet ()
Joué durant 2 mois 2 semaines
Première preview: 09 June 2017
Première: 15 June 2017
Dernière: 02 September 2017
Compositeur:
Parolier:
Libettiste: William Shakespeare •
Metteur en scène: Robert Icke •
Chorégraphe:
Avec: Andrew Scott (Hamlet), Marty Cruickshank (Player Queen), Jessica Brown Findlay (Ophelia), Calum Finlay (Rosencrantz), Joshua Higgott (Horatio), Daniel Rabin (Reynaldo), David Rintoul (Ghost/Player King), Juliet Stevenson (Gertrude), Luke Thompson (Laertes), Peter Wight (Polonius), Angus Wright (Claudius) and Matthew Wynn (Bernardo/Player 3/Priest)
Commentaire: Transfert de la version de l'Almeida Theatre (17/2/17 > 8/4/17) (plus)
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Théâtre
Revival
26) Who's afraid of Virginia Woolf (Revival)
Joué durant 2 mois 2 semaines
Première preview: 22 February 2017
Première: 09 March 2017
Dernière: 27 May 2017
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Divers •
Metteur en scène: James MacDonald •
Chorégraphe:
Avec: Imelda Staunton (Martha), Conleth Hill (George), Luke Treadaway (Nick), Imogen Poots (Honey)
Commentaire:
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Original
25) Nice Fish (Original)
Joué durant 1 mois 3 semaines
Première preview: 15 November 2016
Première: 25 November 2016
Dernière: 21 January 2017
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Divers •
Metteur en scène: Claire van Kampen •
Chorégraphe:
Avec: Mark Rylance, Raye Birk, Kayli Carter, Bob Davis, Jim Lichtscheidl
Commentaire: Olivier, Tony and Oscar winning actor Mark Rylance returns to London to star in his first self-penned play, Nice Fish, drawn from the words of Lewis Jenkins. Directed by his wife Claire van Kampen, it has been described as an "icy absurdist drama" and likened to a "folksy Waiting for Godot."
Originally commissioned and produced by The Guthrie Theater in 2013, the play ran at the A.R.T Theatre in Cambridge, Mass. before transferring to St Ann's Warehouse in Brooklyn, New York. (plus)
Presse: "Rylance plays a goofball novice on an ice-fishing trip in a play that feels derivative and slides into absurdism." Michael Billington for The Guardian
"A patience-baiting tragicomedy...Is it a tad pretentious? Borderline codswallop? Of course it is." Dominic Cavendish for The Telegraph
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Musical
Original
24) Sunny afternoon (Original)
Joué durant 2 ans
Première preview: 04 October 2014
Première: 28 October 2014
Dernière: 29 October 2016
Compositeur: Ray Davies •
Parolier: Ray Davies •
Libettiste: Joe Penhall •
Metteur en scène: Edward Hall •
Chorégraphe: Adam Cooper •
Avec: The Kinks Band members: John Dagleish (Ray Davies), George Maguire (Dave Davies), Ned Derrington (Pete Quaife) and Adam Sopp (Mick Avory), Jason Baughan (Eddie Kassner), Jo Servi (Gregory Piven), with Carly Anderson, Philip Bird, Ben Caplan, Lillie Flynn, Emily Goodenough, Elizabeth Hill, Vince Leigh, Amy Ross, Dominic Tighe and Tam Williams.
Commentaire:
Presse: "Edward Hall’s joyous production neatly allows the songs to grow out of the story and the cast is first-rate...At close to three hours, the show is on the long side but it offers a heady celebration of a quintessentially English talent." Michael Billington for The Guardian
"Alongside some interesting ideological clashes between socialism and trade unionism, Sunny Afternoon is a hymn to English musical individualism and artistic perseverance – all with the miniskirts and freshness of 1960s London. I predict 21st century-sized box office returns." Quentin Letts for The Daily Mail
"For all the energy and skill bubbling away, Edward Hall’s confident production occasionally lacks forward momentum. ‘There’s no handbook for what you’re trying to do’, says Ray’s Dad to the boys, but it remains unclear precisely what this might be, what anger or passion fuels them." Fiona Mountford for the Evening Standard
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Revival
23) Importance of Being Earnest (The) (Revival)
Joué durant 2 mois
Première preview: 27 June 2014
Première: 17 July 2014
Dernière: 20 September 2014
Compositeur:
Parolier:
Libettiste: Oscar Wilde •
Metteur en scène: Lucy Bailey •
Chorégraphe:
Avec: The Bunbury Company of Players: Nigel Havers, Sian Phillips, Rosalind Ayres, Niall Buggy, Martin Jarvis, Christine Kavanagh, Cherie Lunghi
Commentaire:
Presse: "Those who love Wilde will feel similarly let down by this self-indulgent travesty of a masterpiece." Charles Spencer for The Daily Telegraph
"If visitors to Paris's Père Lachaise cemetery currently hear a strange noise, it is that of Oscar Wilde's spirit loudly rebelling at the thought that his sublime comedy needs to be 'reimagined'." Michael Billington for The Guardian
"The production left me with two main feelings. One is that the age-blind casting suits the slightly surreal Lewis Carroll aspect of the play's subversiveness. The second is that theatre is such a non-realist art that good acting can render age irrelevant." Paul Taylor for The Independent
"Playwright Simon Brett has given Oscar Wilde’s classic a delightful new context and I don’t think I’ve enjoyed the play quite as much since the first couple of times I ever saw it." Quentin Letts for The Daily Mail
"The great and good of British acting Nigel Havers, Sian Phillips, Cheri Lunghi and Martin Jarvis bring an Acorn Antiques quality to Oscar Wilde's famous play." Neil Norman for The Daily Express
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Revival
22) Relative Values (Revival)
Joué durant 2 mois 1 semaine
Première preview: 19 March 2014
Première: 14 April 2014
Dernière: 21 June 2014
Compositeur:
Parolier:
Libettiste: Noël Coward •
Metteur en scène: Trevor Nunn •
Chorégraphe:
Avec: Patricia Hodge (Felicity), Caroline Quentin (Moxie), Neil Morrissey (Crestwell), Ben Mansfield (Don Lucas), Leigh Zimmerman (Miranda Frayle), Steven Pacey (Peter), Timothy Kightley (Admiral Sir John Hayling ), Amanda Boxer (Lady Cynthia Hayling), Sam Hoare (Nigel), Rebecca Birch (Alice)
Commentaire:
Presse: "This is the kind of unashamedly frivolous play that doubtless helped turn John Osborne into an angry young man but it is likely to provide nothing but pleasure to those who admire Coward’s wit and stylish insouciance." Charles Spencer for The Telegraph
"While there's much pleasure to be had from the stylish acting and direction, Coward's play remains a musty, tribal relic in praise of the class system." Michael Billington for The Guardian
"It’s impossible not to be amused by Hodge’s silkily imperious tone as she tries to ensure the upper classes remain unsullied by such an arriviste." Fiona Mountford for The Evening Standard
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21) Being Shakespeare ()
Joué durant 2 semaines
Première preview: 26 February 2014
Première: 26 February 2014
Dernière: 15 March 2014
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Divers •
Metteur en scène: Tom Cairns •
Chorégraphe:
Avec: Simon Callow
Commentaire: Joué au Trafalgar Studios 1 Theatre en 2011 en 2012 (plus)
Presse: "Engaging, informative, admirable one-man show." Quentin Letts for The Daily Mail
"As an introduction to both the writer and his work, this show has much to recommend it, and though I still find Callow too bombastic a presence, his passion for Shakespeare shines through." Charles Spencer for The Daily Telegraph
"Highly enjoyable show." Paul Callan for The Daily Express
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Revival
20) Mojo (Revival)
Joué durant 2 mois 1 semaine
Première preview: 26 October 2013
Première: 13 November 2013
Dernière: 25 January 2014
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Divers •
Metteur en scène: Ian Rickson •
Chorégraphe:
Avec: Brendan Coyle (Mickey) , Rupert Grint (Sweets), Daniel Mays (Potts), Ben Whishaw (Baby) , Colin Morgan (Skinny), Tom Rhys Harries (Silver Johnny)
Commentaire:
Presse:
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West End Transfer
19) Chimerica (West End Transfer)
Joué durant 2 mois
Première preview: 06 August 2013
Première: 15 August 2013
Dernière: 19 October 2013
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Divers •
Metteur en scène: Lyndsey Turner •
Chorégraphe:
Avec: Claudie Blakley (Tessa) , Stephen Campbell Moore (Joe), Benedict Wong (Zhang Lin), Elizabeth Chan (Zhang Shen), Vera Chok (Michelle Cheuk/Mary Wang), Karl Collins (David/Peter/Paul/Officer), Trevor Cooper (Frank), Nancy Crane (Martha/Doreen/ Senator/ Maria Dubieki /Mrs Krupke/ Susannah Schofield), Sean Gilder (Mel Stanwyck) , Sarah Lam (Feng Meihui/Old Ming Sheng) , Andrew Leung (Young Lin/Benny), David K. S. Tse (Zhang Xhao/ Pengfei)
Commentaire:
Presse:
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18) Merrily We Roll Along (West End Transfer)
Joué durant 2 mois 3 semaines
Première preview: 23 April 2013
Première: 01 May 2013
Dernière: 27 July 2013
Compositeur: Stephen Sondheim •
Parolier: Stephen Sondheim •
Libettiste: George Furth •
Metteur en scène: Maria Friedman •
Chorégraphe: Tim Jackson •
Avec: Mark Umbers (Franklin Shepard), Damian Humbley (Charley Kringas), Jenna Russell (Mary Flynn), Josefina Gabrielle (Gussie Carnegie), Clare Foster (Beth Spencer), Glyn Kerslake (Joe Josephson), Zizi Strallen, Matthew Barrow, Martin Callaghan, Amanda Minihan, Amy Ellen Richardson, Robbie Scotcher, Kirk Patterson, Ashley Robinson, Joanna Woodward, Bob Harms, Julie Jupp, Elana Martin.
Commentaire: Produit par le Menier Chocolate Factory (plus)
Presse: "Superlative staging...It is, make no mistake, one of the great musical productions of this or any other era "
Paul Taylor for The Independent
"A flawed diamond, Stephen Sondheim and George Furth's 1981 musical flop polishes up beautifully in this revival by Maria Friedman. The show is so astute, it's hard to believe this story of three friends – creative types who start out wanting to change the world but must face up to the disillusionments of middle age – originally crashed and burned on Broadway...It's a thrilling evening of musical theatre.
Lyn Gardner for The Guardian
"Amid the froth and the blockbusters, an intelligent musical like this is greatly welcome in the West End."
The Evening Standard
"Maria Friedman makes a remarkably assured directorial debut with a revival that is perfectly pitched and employs a standout cast."
Julie Carpenter for The Daily Express
"Glorious revival. "
Dominic Cavendish for The Daily Telegraph
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Le théâtre devient le "Harold Pinter Theatre" le 13 octobre 2011.
Musical
Original
17) Too close to the sun (Original)
Joué durant 2 semaines
Première preview: 16 July 2009
Première: 24 July 2009
Dernière: 08 August 2009
Compositeur: John Robinson •
Parolier: John Robinson •
Libettiste: Roberto Trippini •
Metteur en scène: Pat Garret •
Chorégraphe: ???? ???? •
Avec: Helen Dallimore (Mary), James Graeme (Ernest Hemingway), Christopher Howell (Rex De Havilland) , Tammy Joelle (Louella)
Commentaire: the knives were out for this show even before it opened. It was written and produced by John Robinson, who four years earlier had been responsible for “The Man in the Mask”, the biggest flop of the season. During previews, which started on July 16 th , the actor Jay Benedict walked out, and his role was taken over with less than a week’s notice by Christopher Howell. By the time the show had its official opening there were reports of many audience walk-outs, and “Too Close to the Sun” had already been nicknamed “To Close on Sunday”. With nondescript tunes and lyrics that included lines like “My words explode right off the page/With a powerful narrative energy” the show was doomed, and came off on August 8 th , after just two weeks. One critic quipped: “To have written and produced one West End fiasco may be regarded as a misfortune; to have written and produced two, looks like hubris.” (plus)
Presse: MICHAEL BILLINGTON for THE GUARDIAN says, "Implausible and unnecessary musical...I wouldn't have minded a few tuneful Mediterranean ditties here in place of the instantly forgettable two dozen numbers by John Robinson that fatally clog the action."
DOMINIC MAXWELL for THE TIMES says, "Too Close to the Sun is pretty dire. But it’s such a muted, muddled experience, such a waste of time and talent, that there’s not really much to snigger about...It’s not good; it’s not so bad it’s good. It’s just bewilderingly drab." RHODA KOEING for THE INDEPENDENT says, "Stilted production...Robinson's trite music pootles about aimlessly and tunelessly, and the lyrics (a Robinson-Trippini collaboration) eschew rhyme as well as reason." CHARLES SPENCER for THE DAILY TELEGRAPH says, "Of more than 20 musical numbers, there isn’t one that either delights or lodges itself in the memory...Pat Garrett’s production plods through this rubbish heap of a show with leaden tedium." FIONA MOUNTFORD for THE EVENING STANDARD says, "The dialogue is flat and the music peculiar, with song after identical song coming over all difficult and resolutely tune-free. "
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Revival
16) Sunset Boulevard (Revival)
Joué durant 5 mois 2 semaines
Première preview: 04 December 2008
Première: 15 December 2008
Dernière: 30 May 2009
Compositeur: Andrew Lloyd Webber •
Parolier: Christopher Hampton • Don Black •
Libettiste: Christopher Hampton • Don Black •
Metteur en scène: Craig Revel Horwood •
Chorégraphe: Craig Revel Horwood •
Avec: Kathryn Evans (Norma Desmond), Ben Goddard (Joe Gillis), Laura Pitt-Pulford (Betty Schaefer), Dave Willetts (Max)
Commentaire: Over the fifteen years since it first opened “Sunset Boulevard” had been associated with awards, lawsuits, long runs, big stagings and even bigger losses. But this revival revealed a smaller, more dramatic and intensely gripping show. With just a chaise longue and a spiral staircase to suggest Norma Desmond’s faded glamour, some people felt it failed to capture the decadent spirit of the original, and with actors doubling as musicians, it felt a bit cheap and “Brechtian”. However, most of the critics felt being able to concentrate on the essence of the characters and the score was an enormous advantage– and confirmed that, at heart, “Sunset Boulevard” is a great and undervalued musical. Originally the show was scheduled to close in mid-April, but the booking period was extended to mid-September. However, six weeks into the extended period, on May 30 th, the show closed due to a downturn in sales. (plus)
Presse: NICHOLAS DE JONGH for THE EVENING STANDARD says, "Small is better and sometimes beautiful when it comes to this scaled-down, intimate version of Andrew Lloyd Webber’s 1993 musical melodrama."
MICHAEL COVENEY for THE INDEPENDENT says, "...a score that is as dynamic and complex as any that Lloyd Webber has written."
MICHAEL BILLINGTON for THE GUARDIAN says, "Intelligently pared-down production...the main discovery is that inside Lloyd Webber's big belter of a musical, there is a smaller, more dramatic show that has been waiting for years to be let out."
DOMINIC MAXWELL for THE TIMES says, "Revel Horwood’s production is persuasive. As this jaw-droppingly skilful cast jump between instruments, Lloyd Webber’s score is always interesting, sometimes catchy."
CHARLES SPENCER for THE DAILY TELEGRAPH says, "Knockout revival...blessed with both sharp wit and a superb ensemble...[Craig Revel] Horwood's choreography is neat and witty, but it is the sheer panache of the whole ensemble that makes this revival so special, plus the sense that justice has finally been done to a great and undervalued musical."
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Musical
Revival
15) Rocky Horror Show (The) (Revival)
Joué durant 3 semaines
Première preview: 21 December 2006
Première: 04 January 2007
Dernière: 27 January 2007
Compositeur: Richard O'Brien •
Parolier: Richard O'Brien •
Libettiste: Richard O'Brien •
Metteur en scène: Christopher Luscombe •
Chorégraphe: Jenny Arnold •
Avec: Brian Capron/Steve Pemberton/Danny Baker (Narrator), David Bedella (F rank-n-Furter), Julian Essex-Spurrier (Rocky ), Matthew Cole (Brad), Suzanne Shaw (Janet), Iain Davey (Riff-Raff), Claire Parrish (Magenta), Kay Murphy (Columbia), Nathan Amzi (Eddie/Dr Scott)
Commentaire: Back in the West End, for the seventh time—again for a short run prior to the eternal tour! (plus)
Presse:
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Revival
14) Rocky Horror Show (The) (Revival)
Joué durant 3 semaines
Première preview: 21 December 2006
Première: 04 January 2007
Dernière: 27 January 2007
Compositeur: Richard O'Brien •
Parolier: Richard O'Brien •
Libettiste: Richard O'Brien •
Metteur en scène:
Chorégraphe:
Avec:
Commentaire:
Presse:
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West End Transfer
13) Passion Play (West End Transfer)
Joué durant 2 mois
Première preview: 20 June 2000
Première: 26 June 2000
Dernière: 26 August 2000
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Divers •
Metteur en scène: Michael Grandage •
Chorégraphe:
Avec: Gillian Barge, Cheryl Campbell, Heather Craney, Nicky Henson, Judith Hepburn, Toni Kanal, Arthur Kelly, James Laurenson, Cherie Lunghi, Tom Marshall, Francis Maguire, Katherine Stark, Nicola Walker, Peter Winnall
Commentaire: > 2000 Evening Standard Award: Best Director (Michael Grandage)
> 2001 Critics' Cirde Award: Best Director (Michael Grandage)
> 2001 Laurence Olivier Award nomination: Best Director (Michael Grandage)
> 2001 Laurence Olivier Award nomination: Best Supporting Actress (Gillian Barge)
Transféré du Donmar (plus)
Presse:
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Original London
12) I love you, You're perfect, Now change! (Original London)
Joué durant 1 mois 4 semaines
Nb de représentations: 69 représentations
Première preview: 22 July 1999
Première: 28 July 1999
Dernière: 25 September 1999
Compositeur: Jimmy Roberts •
Parolier: Jo DiPietro •
Libettiste: Jo DiPietro •
Metteur en scène: Joel Bishoff •
Chorégraphe:
Avec: Clive Carter, Shona Lindsay, Gillain Kirkpatrick, Russell Wilcox
Commentaire: This original London production flopped after just 69 performances, and yet the original New York production of 1996 was still running off-Broadway. Nearly ten years on Broadway and not even ten weeks in London!
Accompanied with piano and violin, and with a cast of just four, it had mixed reviews for its London debut and ran for just nine weeks. (plus)
Presse:
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Original
11) Disgracefully yours (Original)
Joué durant 2 semaines
Nb de représentations: 21 représentations
Première preview: 18 March 1996
Première: 20 March 1996
Dernière: 06 April 1996
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Divers •
Metteur en scène: Christopher Malcolm •
Chorégraphe: Stacey Haynes •
Avec: Richard O’Brien (Mephistopheles Smith), Michael Dalton, Debbie Scamp, Nikki Shaw, Dave Brown, Les Davidson, Nick Payn, Bill Robinson, Ed Spevock
Commentaire: Originally staged at the previous year’s Edinburgh Festival, this was booked into the Comedy for a limited three week run (21 performances). The critics unanimously stated this was 21 performances too many. Neil Smith for “What’s On” was representative when he wrote: “If you’re the kind of a person who likes to spend a night on the town in bondage and fishnets, you’ll probably have a ball. But if you’re the type who balks at the prospect of a bald 54-year-old making a complete dick of himself, you’d best steer well clear” (plus)
Presse:
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Revival
10) Official Tribute to the Blues Brothers (The) (Revival)
Joué durant 1 mois 1 semaine
Nb de représentations: 46 représentations
Première preview: 21 September 1994
Première: 21 September 1994
Dernière: 29 October 1994
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste:
Metteur en scène: David Leland •
Chorégraphe: Carole Todd •
Avec: Mark White (Jake), Giles New (Elwood), Doreen Chanter, Paul Murphy, Mary Pearce (The Bluettes).
Commentaire: This was back in the West End after its UK tour. The show now had a new title: “The Official Tribute to the Blues Brothers” suggesting that somewhere along the way it had received approval from the Belushi family. (plus)
Presse:
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Musical
Recréation
9) Stop in the name of love (Recréation)
Joué durant 1 mois
Première preview: Inconnu
Première: 10 July 1990
Dernière: 11 August 1990
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Divers •
Metteur en scène: Wayne A. Findlay •
Chorégraphe: Henry Metcalf •
Avec: Alison Jiear, Naomi Eyers, Simone Dee (The Fabulous Singlettes)
Commentaire: A revised version of the show “Stop in the Name of Love” which had played 104 performances at the Piccadilly Theatre in 1988. However, this time Lisa Shipley had been replaced with Simone Dee. This show was brought in as a quick “filler”.
Créé au Piccadilly Theatre en 1988. (plus)
Presse:
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Revival
8) Noël and Gertie (Revival)
Joué durant 6 mois
Nb de représentations: 220 représentations
Première preview: Inconnu
Première: 14 December 1989
Dernière: 16 June 1990
Compositeur: Noël Coward •
Parolier: Noël Coward •
Libettiste: Sheridan Morley •
Metteur en scène:
Chorégraphe: David Toguri •
Avec: Simon Cadell {Noel Coward), Patricia Hodge (Gertrude Lawrence)
Commentaire: This was an anthology of Coward’s words, scenes and songs which had originally been created by Sheridan Morley at the King’s Head in 1983. The original production was a four-hander: Simnon Cadell and Joanna Lumley with the songs performed by Gillian Bevan and David McAlister. Following this, the show had various productions around the country including some international dates, and various combinations of performers. This revised version - for two performers - originally was to feature Michael York - but for some reason Simon Cadell replaced him. The post West-End tour, with Edward Petherbridge and Susan Hampshire was cancelled due to the illness of
the leading lady. (plus)
Presse:
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West End Transfer
7) Spin of the wheel (West End Transfer)
Joué durant 3 semaines
Nb de représentations: 36 représentations
Première preview: 02 April 1987
Première: 07 April 1987
Dernière: 02 May 1987
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Divers •
Metteur en scène: Timothy Prager •
Chorégraphe:
Avec: Neil McCaull {Danny Lemon), Maria Friedman (Janie Jones), Teddy Kempner (Chester), Douglas Anderson (Hyram Ross), Raymond Brody (Louis Marda), Erin Donovan (Regina), Susie Fenwick (Delores), Mark Heenehan (Randy), Stephen Hoye (Jack O ’Neill), Jeremy Sinden (Sammy Class), Matt Zimmerman (Ralph Dylan)
Commentaire: It opened with great success at the Watford Palace (11/3/1987), but failed to catch on when it transferred to the West End. (plus)
Presse: "...This musical is fortunate in having in Maria Friedman, as Janie, an actress with a bright, vacuous charm of a Goldie Flawn who can brighten a stage even when she is up to her neck in fatuity..." Multon Shulam, The London Evening Standard (8 April 1987)
"...The plot deals with dumb blonde Janie Jones who is manipulated then discarded by the commercial sponsors of a quiz game show. The part recalls the invincible innocence and sublime daffiness of Judy Holliday whom the splendid Maria Friedman here occasionally resembles - with a dash of Goldie Hawn and a belting mellifluous way with the songs thrown in..." Martin Hoyle, The Financial Times (8 April 1987)
"...The satire Spin of the Wheel is so bland that the show is virtually indistinguishable from the ghastly world of TV light entertainment which is its subject... Maria Friedman brings an agreeable singing voice to the role of Janie..." Charles Osborne, The Daily Telegraph (9 April 1987)
"...Maria Friedman, a delightful actress with a great voice..." Lester Middlehurst, Today (10 April 1987)
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Revival
6) Gambler (The) (Revival)
Joué durant 1 mois
Nb de représentations: 45 représentations
Première preview: 02 July 1986
Première: 09 July 1986
Dernière: 09 August 1986
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Divers •
Metteur en scène:
Chorégraphe:
Avec: Paul Brown, Philip Davis, Bob Goody, Mel Smith
Commentaire: A highly individual musical show making a story of gambling addiction, with scenes taking place in the race track, the enclosure bar, pubs, clubs and a dog track, with a cast of just four men creating a whole array of characters like punters, tipsters, pros, cons, floosies, narks and “heavies”. A four-piece band was onstage throughout the show. The show opened at the Hampstead Theatre on April 10th and transferred for a five week run at the Comedy. (This was based on an earlier version of the show performed in 1980 at the Bull and Gate in Kentish Town.) (plus)
Presse:
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Original London
5) Little Shop of Horrors (The) (Original London)
Joué durant 1 an 11 mois 4 semaines
Nb de représentations: 813 représentations
Première preview: 12 October 1983
Première: 12 October 1983
Dernière: 05 October 1985
Compositeur: Alan Menken •
Parolier: Howard Ashman • Howard Ashmand •
Libettiste: Howard Ashmand •
Metteur en scène: Howard Ashman •
Chorégraphe: Edie Cowan •
Avec: Barry James (Seymour), Ellen Greene (Audrey), Terence Hillyer (Orin), Harry Towb (Mushnik), Anthony B. Asbury (Audrey II Manipulation), Michael Leslie (Audrey II Voice)
Commentaire:
Presse:
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Musical
Original
4) Colette (Original)
Joué durant
Nb de représentations: 47 représentations
Première preview: Inconnu
Première: 24 September 1980
Dernière: Inconnu
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Divers •
Metteur en scène: Wendy Toye •
Chorégraphe:
Avec: John Moffatt (Narrator), Cleo Laine (Colette), Kenneth Nelson
Commentaire: It was originally staged at the Dankworth’s converted stable theatre at their home in Wavendon to an audience of their friends, but it did not make a good transition to a West End theatre.
The Daily Mail critic said : “...as an entertainment it has not strayed far from the village hall which, come to think of it, is where it began.” (plus)
Presse:
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3) Rocky Horror Show (The) (Original)
Joué durant 1 an 5 mois 1 semaine
Première preview: 06 April 1979
Première: 06 April 1979
Dernière: 13 September 1980
Compositeur: Richard O'Brien •
Parolier: Richard O'Brien •
Libettiste: Richard O'Brien •
Metteur en scène: Jim Sharman •
Chorégraphe:
Avec:
Commentaire: Royal Court - Jerwood Theatre Upstairs: 19/6/1973 - 12/8/1973
Classic Theatre: 14/8/1973 - 29/10/1973
King's Road Theatre: 31/10/1973 - 4/4/1979
Comedy Theatre: 6/4/1979 - 13/9/1980 (plus)
Presse:
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Revival
2) Rocky Horror Show (The) (Revival)
Joué durant 1 an 5 mois 1 semaine
Première preview: 06 April 1979
Première: 06 April 1979
Dernière: 13 September 1980
Fait partie de: London Run
Compositeur: Richard O'Brien •
Parolier: Richard O'Brien •
Libettiste: Richard O'Brien •
Metteur en scène: Jim Sharman •
Chorégraphe:
Avec: George Little (Narrator), Peer Blake (Frank-n-Furter). Jeremy Gittins (Rocky Horror), Frederick Marks (Brad), Pippa Hardman (Janet), Neil McCaul (Riff-Raff), Kathryn Drew (Magenta), Melanie Wallis (Columbia), Nick Llewellyn (Eddie/Dr Scott).
Commentaire: The Rocky Horror Show transferred to the 820-seat Comedy Theatre on Panton Street in the West End, the legitimate London theatre district, running from 6 April 1979 until 13 September 1980, closing the play's initial run of 2,960 performances. (plus)
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Parolier: Richard O'Brien •
Libettiste: Richard O'Brien •
Metteur en scène: Jim Sharman •
Chorégraphe:
Avec: George Little (Narrator), Peer Blake (Frank-n-Furter). Jeremy Gittins (Rocky Horror), Frederick Marks (Brad), Pippa Hardman (Janet), Neil McCaul (Riff-Raff), Kathryn Drew (Magenta), Melanie Wallis (Columbia), Nick Llewellyn (Eddie/Dr Scott).
