Londres
Savoy Theatre
Londres - Angleterre
Construction: 1881
Topologie du théâtre
Nombre de salles actives: 1
Salle 1: (1156) 1881 - Actif
Accès
En métro: Charing Cross/Leicester Square/Covent Garden
En bus: 14, 19, 22, 24, 29, 38, 40, 176
Adresse: Savoy Court, Strand, London, WC2R 0ET
Evolution
Bâtiment: 1881. Theatre designed by C. J. Phipps for Richard D'Oyly Carte / 1903. Extensive repair works, fireproofing and overhaul of heating and ventilation by architect A. Bloomfield Jackson / 1929. Theatre completely remodelled by Frank A. Tugwell, with Interior decoration by Basil lonldes. Easton and Robertson alter the Savoy Court entrance / 1990. Building extensively damaged by fire / 1993. Restoration completed by Whitfield Partners and theatre reopens / Statutorily Listed Historic Building: Grade II*
Nom:
Propriétaire(s)
Ambassador Theatre Group
Remarquable
The planning of the theatre on its steeply sloping site / The superb mature Art Deco interior.
1156
1881 - Actif
La production, qui commencera ses previews au Menier Chocolate Factory le 20 novembre 2015, sold out pour toute la série dans le Southwark en 90 minutes!!!
England was experiencing a protracted period of particularly warm but stormy weather when, in 1246, Henry III granted the land upon which the Savoy now stands - then the site of Simon de Montfort's palace - to Peter, Earl of Savoy and Richmond, for a rent of three barbed arrows to be delivered yearly to the Exchequer. Peter willed It in 1268 to the monastery of St Bernard Montjoux, Savoy, whose dependent house, the Hospital of Saints Nicholas and Barnard at Hornchurch, Essex, cared for the poor, aged and sick. Two years later the land was bought by Queen Eleanor of Castile, wife of King Edward I, who gifted it to her second son Edmund, Earl of Lancaster. By 1370 it had been completely rebuilt with unequalled magnificence by Edmund’s grandson Henry, Duke of Lancaster.
Sadly, this magnificence was not to last -1377 was the high point in the short-lived Peasants’ Revolt, and Wat Tyler's rebels duly destroyed the sumptuous palace. The site then languished in ruins until 1505, when It was rebuilt, upon the instruction of King Henry VII, as the Savoy Hospital, which provided nightly accommodation for 100 poor people. To the rear of the Hospital, the chapel of St John the Baptist (now known as the Queen’s Chapel of the Savoy) was built in 1510; the chapel survives within the serene setting of its grassy graveyard.
Following the closure of the hospital in 1702, the buildings began to deteriorate. Nevertheless, a protracted land-ownership dispute ensued between the Crown and the Duchy of Lancaster which eventually resulted in a land-share agreement In 1772. In 1816, the site was cleared to accommodate the new Waterloo Bridge approach road. The Savoy site was helped to prominence by the Victoria Embankment, which was begun In 1864. This enhanced the setting of all buildings along the Strand and Improved access along the riverfront.
In 1881, on the Savoy site, which was by now covered with small buildings grouped around Fountain Court and Beaufort Buildings, construction work started on the Savoy Theatre. The work was put In hand by Richard D’Oyly Carte, who since 1877 had been manager of the Opera Comique, adjacent to the Globe Theatre In Wych Street, now Aldwych. The Savoy was D'Oyly Carte’s first theatre; his success had begun when, in 1875, he produced Gilbert and Sullivan’s Trial By Jury at the Royalty Theatre. His fortunes with Gilbert and Sullivan continued when, in 1878, HMS Pinafore opened and then ran for 700 nights, followed by The Pirates of Penzance (1880) and Patience (1881), by which time Gilbert and Sullivan were D’Oyly Carte's partners and his profits were soaring.
On the back of these profits, D’Oyly Carte commissioned C. J. Phipps In 1881 to design his own Savoy Theatre. Phipps came up with an Italian Renaissance design, overcoming in his plans the problems posed by the steep site by positioning his main entrance on the angle between Carting Lane and Savoy Way. Always forward-looking, D’Oyly Carte was proud to unveil the theatre as the first public building in the world to be totally illuminated by electricity, which would enhance the white, yellow and gold décor. As a precaution against power failure, however, the gas pilot lights would be kept lit!
In 1884 D’Oyly Carte decided to build a hotel next to his theatre. This time he engaged architect T. E. Collcutt, who would later design his Palace Theatre - part of the expanding D'Oyly Carte empire - in 1891. The hotel was the beginning of what was to become an even larger complex, which grew in stages.
In 1903 Savoy Court - the short approach road to the theatre and the hotel from the Strand - was refronted to match the hotel, and a new theatre entrance and extensive alterations to the auditorium and foyer were put in hand. The west block was added in 1905 and the Embankment block in 1910. The Building News of 22 January 1904 refers to extensive alterations being demanded by London County Council to meet the ever more comprehensive building and fire regulations, and to a decorative scheme in Venetian red, old gold and peacock blue.
By 1929 the three-tier auditorium was considered old-fashioned, and architect Frank A. Tugwell was commissioned to rebuild the theatre practically from scratch. All that remained after the demolition works were Phipps’s Carting Lane entrance and the main side walls into which Tugwell designed his two-tier auditorium, with interior decoration by designer Basil lonldes. Levels within the building are governed by the sloping site: Savoy Court corresponds with the upper-circle level, and the scenery get-in from Carting Lane is at fly-floor level, an inconvenience that makes for some manoeuvring difficulties. At the same time as Tugwell was engaged on the auditorium, modernist architects Easton and Robertson, who were later to design the fine laboratory buildings adjacent to the Sadler’s Wells Theatre, were employed to modernize the Savoy Court elevation. They installed a range of glazed doors framed in stylized drapes, within a polished stainless-steel canopy supporting the theatre name in oversized steel sans-serif letters, set against the Doulton Carrara Ware (similar to faience) facing to the hotel. Beyond the doors lies the mirrored foyer with its silver-leafed rectangles, a pretty box office and a staircase that descends to the stalls and the dress circle. This is the visitor’s first glimpse of lonides’ inspired Art Deco moderne interior.
The two-tier auditorium, decorated like the foyer in silver-leafed rectangles, is a tribute to the creativity of Basil lonides and is one of the great examples of Art Deco interior design. The front half of the auditorium has two giant sounding boards either side of the plain proscenium, each designed to accommodate 43 decorated panels derived from a Chinese lacquer screen, but designed in a contrived perspective. Behind, the walls are heavily fluted, producing a remarkable display of graded light and shade, with tongued fluting extending along the balcony fronts. The ceiling above the stalls houses rectangular lighting panels, and above the upper circle a cloudy blue sky has been painted. Colour is used sparingly on the sunken ornamental soffit panels to the underside of the balconies, as an eye-catching contrast to the expanses of silver leaf.
Stand at the front of the stalls, look back into this auditorium and imagine the devastation left by a totally destructive fire in 1990. The ceiling was open to the sky and the decoration virtually destroyed. With a dedication far beyond the normal, the management, along with the architects Whitfield Partners, set about a restoration of breathtaking quality - comparable to the refurbishment of Castle Howard, Yorkshire, or Upark, Sussex, after equally extensive fire damage - and one which everyone who visits the theatre is able to appreciate. The building reopened in 1993.
Sadly, nothing remains of the original timber stage machinery. Instead, a state-of-the-art modular counterweighted stage has been installed and the grid has been lowered to accommodate the hotel’s swimming pool above.
Many of the Savoy's greatest stage moments were during the years 1910-18, when Henry Irving was actor-manager. Irving would appear regularly on stage, and prior to his death, James Montgomery’s farce Nothing But the Truth was to run for close on 600 performances. Following this, after Gilbert and Sullivan revivals In the early 1930s, The Man Who Came to Dinner ran for over 700 performances in 1942. The Secretary Bird ran for 1,500 performances ending in 1972, followed by the highly successful Noises Off (1,912 performances).
1881. Theatre designed by C. J. Phipps for Richard D'Oyly Carte / 1903. Extensive repair works, fireproofing and overhaul of heating and ventilation by architect A. Bloomfield Jackson / 1929. Theatre completely remodelled by Frank A. Tugwell, with Interior decoration by Basil lonldes. Easton and Robertson alter the Savoy Court entrance / 1990. Building extensively damaged by fire / 1993. Restoration completed by Whitfield Partners and theatre reopens / Statutorily Listed Historic Building: Grade II*
Infos complémentaires:
The Stalls at the Savoy feel a lot smaller than other venues of a similar size, mainly due to the fact that the block of seats is undivided. The seats are set firmly away from the entrances and go straight back rather than curve, meaning even seats on the end of each row enjoy a good view. Each row grows to a modest 30 seats across in the centre of the section, at a slight rake allowing much of the stage to be seen. The front of the stalls is often sold at a discounted price due to it being very close to the orchestra pit. The stage is set quite high, and so some neck straining does occur in the first three rows. The height of the stage also means smaller audience members may miss details such as the dogs or floor props, and so for the same price we would advise sitting a few rows back.
The overhang of the Dress Circle only creates a problem from row N and back, as the top of the proscenium is missed by those in the rear of the stalls. The rear stalls also has speakers which can affect sight lines, particularly for performances that use the top of the stage. Seats surrounding the sound desk at the back of the theatre should also be avoided as it can lead to various distractions. Best seats are usually midway back, as close to the centre as possible.
The Dress Circle is a unique shape split into three sections, two at the rear and one large section towards the front. Because of the shape a number of seats in this section are labelled restricted due to the safety rails that run across the balcony and stairwells. The front section offers the best value for money, but side seats in the first few rows have less leg room due to the curve of the balcony. This section is divided horizontally, so there is no centre aisle. Those wishing to find additional legroom should sit further back in the front section towards the end of each row.
The Upper Circle overhangs the back section of the Dress Circle after row F, blocking the top of the stage from those sitting towards the rear. A rail runs along the front of the Dress Circle, which is forewarned to those sitting in row A, although it is possible to see the action without too much discomfort. The back of the Dress Circle is divided by a larger safety rail which runs across row G; affecting sight lines in the subsequent two rows. To avoid this it is worth paying less to sit a couple of rows back, or booking similar priced tickets in the stalls.
The Upper Circle is divided into two equal sections by a horizontal aisle. The front section provides excellent value for money, and despite feeling far from the stage the view is exceptionally clear. The theatre warns against the front row due to a safety rail, but this is easily overcome and does not prove to be a significant distraction. Leg room in the first couple of rows is particularly tight, but further back it is more than adequate.
The rear section is more affected by safety rails, and should be considered last. There is a significant difference between the two sections, and due to the rake of the rear Upper Circle the stage feels very far away. Having said that, the view of the sets is excellent, but character detail and faces are often lost. It is often possible to move forward into empty seats, especially if you are visiting mid-week, so these seats are often excellent value for money.
The planning of the theatre on its steeply sloping site / The superb mature Art Deco interior.
Musical
UK Revival
41) Sunset Boulevard (UK Revival)
Joué durant 3 mois 2 semaines
Première preview: 18 September 2023
Première: 18 September 2023
Dernière: 06 January 2024
Compositeur: Andrew Lloyd Webber •
Parolier: Christopher Hampton • Don Black •
Libettiste: Christopher Hampton • Don Black •
Metteur en scène: Jamie Lloyd •
Chorégraphe:
Avec:
Commentaire:
Presse:
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Musical
UK Revival
40) Pretty Woman: The Musical (UK Revival)
Joué durant 1 an 11 mois 2 semaines
Première preview: 08 July 2021
Première: 08 July 2021
Dernière: 18 June 2023
Compositeur: Bryan Adams • Jim Vallance •
Parolier: Bryan Adams • Jim Vallance •
Libettiste: Gary Marshall • J.F. Lawton •
Metteur en scène: Jerry Mitchell •
Chorégraphe: Jerry Mitchell •
Avec: Courtney Bowman (Kit De Luca), Andy Barke (Happy Man / Mr Thompson), Aimie Atkinson (Vivian Ward), Danny Mac (Edward Lewis until Apr 1), Oliver Tompsett (Edward Lewis from Apr 4), Daniel Clift, John Addison, Jemma Alexander, Becky Anderson, Matt Bateman, Patrick Barrett, Robertina Bonano, Oliver Brenin, Alex Charles, Ben Darcy, Hannah Ducharme, Elishia Edwards, Tom Andrew Hargreaves, Antony Hewitt, Helen Hill, Mark Holden, Elly Jay, Matt Jones, Kurt Kansley, Georgia Kleopa, Annabelle Laing, Will Luckett, Curtis Patrick, Hassun Sharif, Cilla Silvia, Charlotte Elisabeth Yorke
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Presse:
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Musical
West End Transfer
39) Sunday in the Park with George (West End Transfer)
Joué durant 2 mois 3 semaines
Première preview: 11 June 2020
Première: 11 June 2020
Dernière: 05 September 2020
Compositeur: Stephen Sondheim •
Parolier: Stephen Sondheim •
Libettiste: James Lapine •
Metteur en scène: Sama Lapine •
Chorégraphe:
Avec: Jake Gyllenhaal, Annaleigh Ashford
Commentaire: Jake Gyllenhaal and Annaleigh Ashford are set to reprise their roles in Stephen Sondheim's musical Sunday in the Park with George, which transfers to the West End's Savoy Theatre following Broadway success in 2017. (plus)
Presse:
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Musical
Original
38) Fermeture COVID (Original)
Joué durant 1 an 4 mois
Première preview: 16 March 2020
Première: 16 March 2020
Dernière: 19 July 2021
Compositeur:
Parolier:
Libettiste:
Metteur en scène:
Chorégraphe:
Avec:
Commentaire: Tous les théâtres anglais ont dû fermer dès le 16 mars 2020 suite à la pandémide de COVID… (plus)
Presse:
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Musical
Original London
37) 9 to 5 (Original London)
Joué durant 1 an 3 mois 3 semaines
Première preview: 28 January 2019
Première: 28 January 2019
Dernière: 23 May 2020
Compositeur: Dolly Parton •
Parolier: Dolly Parton •
Libettiste: Patricia Resnick •
Metteur en scène: Jeff Calhoun •
Chorégraphe:
Avec: Louise Redknapp, Amber Davies, Natalie McQueen, Brian Conley.
Commentaire:
Presse: ’A winning mix of raucous good humour and genuinely touching moments’ ★★★★ Telegraph
'Jeff Calhoun’s slick and sparkly production is a nostalgia trip with awesome authenticity.’ ★★★★Mail on Sunday
‘Yee-ha! A joyous blast’ ★★★★ Times
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Musical
Original London
36) Dreamgirls (Original London)
Joué durant 2 ans 1 mois
Première preview: 19 November 2016
Première: 13 December 2016
Dernière: 12 January 2019
Compositeur: Henry Krieger •
Parolier: Tom Eyen •
Libettiste: Tom Eyen •
Metteur en scène: Casey Nicholaw •
Chorégraphe: Casey Nicholaw •
Avec: Amber Riley (Effie) - please note, Ms Riley will not perform Wednesday PM performances. The role of Effie White during these shows will be shared between Ruth Brown and Karen Mav. Tyrone Huntley (C.C White), Adam J Bernard (Jimmy), Nicholas Bailey (Marty), Joe Aaron Reid (Curtis Taylor Jnr), Liisi LaFontaine (Deena), Ibinabo Jack (Lorrell), Lily Frazer (Michelle Morris), Jocasta Almgill, Callum Aylott, Hugo Batista, Samara Casteallo, Chloe Chambers, Carly Mercedes Dyer, Joelle Dyson, Kimmy Edwards, Candace Furbert, Nathan Graham, Ashley Luke Lloyd, Gabriel Mokake, Abiola Ogunbiyi, Sean Parkins, Kirk Patterson, Ryan Reid, Rohan Richards, Noel Samuels, Durone Stokes and Tosh Wanogho-Maud.
Commentaire: Thirty-five years after the groundbreaking original Broadway production, this UK and West End premiere of the sensational and iconic Tony Award-winning musical Dreamgirls comes to the Savoy Theatre in November, 2016. (plus)
Presse:
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Musical
West End Transfer
35) Funny Girl (West End Transfer)
Joué durant 6 mois
Première preview: 09 April 2016
Première: 09 April 2016
Dernière: 08 October 2016
Compositeur: Jule Styne •
Parolier: Bob Merril •
Libettiste: Isobel Lennart •
Metteur en scène: Michael Mayer •
Chorégraphe:
Avec: Sheridan Smith (Fanny Brice), Natasha J Barnes (Fanny Brice at some performances/Emma/Mrs Nadler), Darius Campbell (Nicky Arnstein), Marilyn Cutts (Mrs Brice), Maurice Lane (Mr Keeney), Valda Aviks (Mrs Meeker), Gay Soper (Mrs Strakosh), Bruce Montague (Florenz Ziegfeld), Joel Montague (Eddie Ryan), Philip Bertioli (Cornet Man/Tenor Soloist/ Ensemble), Emma Caffrey (Bubbles/Ensemble), Joelle Dyson (Ensemble), Rebecca Fennelly (Polly/Ensemble), Luke Fetherston (John/Cornet Man/Ensemble), Matthew Goodgame (Director/Renaldi/Paul/Ensemble), Leah Harris (Ensemble), Kelly Homewood (Vera/Ensemble), Sammy Kelly (Mimsey/Ensemble), Sanchia Amber Clarke, Lucinda Collins, Sam Murphy, Tom Murphy, Clare Rickard and Oliver Tester.
Commentaire: L'annonce du West End Transfert de cette version de "Funny Girl" a été faite avant même que ne commencent les représentations au Menier Chocolate Factory du même spectacle, dont les 4 mois de réprésentations ont été Sold Out en prévente, en moins de 2 heures!!! L'effet Sheridan Smith? Ce sera en tous cas son retour au Savoy Theatre quelques années après son triomphe dans "Legally Blonde"… (plus)
Presse: "But the jewel at the heart of this production is Smith...she belts her way through triumph and disaster with such full-hearted charm that you can only surrender to it." Jane Shilling for The Telegraph
"Sheridan Smith triumphantly reinvents Brice for a new generation of musical theatre lovers, conveying with skill and heart this entertainer’s emotive blend of professional success and personal vulnerability." Fiona Mountford for The Evening Standard
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Musical
West End Transfer
34) Guys and Dolls (West End Transfer)
Joué durant 2 mois
Première preview: 10 December 2015
Première: 06 January 2016
Dernière: 12 March 2016
Compositeur: Frank Loesser •
Parolier: Frank Loesser •
Libettiste: Abe Burrows • Jo Swerling •
Metteur en scène: Gordon Greenberg •
Chorégraphe: Andrew Wright • Carlos Acosta •
Avec: Sophie Thompson (Miss Adelaide), Jamie Parker (Sky Masterson), David Haig (Nathan Detroit), Siubhan Harrison (Sarah Brown), Lucy Jane Adcock, Abigail Brodie, Cornelius Clarke, Momar Diagne, Lavinia Fitzpatrick, Lorna Gale, Nic Greenshields, Selina Hamilton, Ian Hughes, Frankie Jenna, Jacob Maynard, Neil McCaul, Genevieve Nicole, William Oxborrow, Max Parker, Carl Patrick, James Revell, Giovanni Spano, Gavin Spokes, Jonathan Stewart, Lucie Mae Sumner and Liam Wrate.
Commentaire: Transfert du Chichester Festival et sera ensuite transféré au Phooenix Theatre. (plus)
Presse: "With outstanding leads and fizzing choreography from Carlos Acosta, the classic gambling musical is staged with elan." Michael Billington for The Guardian
"A joyous revival." Paul Taylor for The Independent
"From the start, the 26-strong ensemble throw everything they’ve got at this – energy, gusto, devotion; they sweat enough to shame a battalion of gym-bunnies.." Dominic Cavendish for The Telegraph
"This production proves the irresistible charm of this great American musical." Henry Hitchings for The Evening Standard
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Musical
Revival
33) Gypsy (Revival)
Joué durant 7 mois 2 semaines
Première preview: 28 March 2015
Première: 15 April 2015
Dernière: 28 November 2015
Compositeur: Jule Styne •
Parolier: Stephen Sondheim •
Libettiste: Arthur Laurents •
Metteur en scène: Jonathan Kent •
Chorégraphe: Stephen Mear •
Avec: Imelda Staunton (Momma Rose), Lara Pulver (Louise), Peter Davison (Herbie), Gemma Sutton (June), Dan Burton (Tulsa), Billy Hartman (Uncle Jocko), Jack Chissick (Mr Goldstone), Anita Louise Combe (Tessie Tura), Harry Dickman (Pop), Lucinda Shaw (Mother), Roger Dipper (L.A.), Louise Gold (Mazeppa), Clare Halse (Majorie May), Tom Hodgkins (Mr Weber), Kieran Jae (Yonkers), Julie Legrand (Electra), Danielle Morris (Geraldine), Luke Street (Little Rock), Damien Poole (Kansas), Lauren Hall (Delores) and Natalie Woods (Agnes). Ensemble members include Liz Ewing, Lauren Ingram, Tom Murphy and Phillip Catchpole.
Commentaire: Avec Imelda Staunton (plus)
Presse: "Kent’s revival offers the unrepeatable chance to witness Imelda Staunton give one of the performances of her career." Dominic Cavendish for The Telegraph
"They might as well start carving Staunton’s name on all the awards statuettes now." Fiona Mountford for The Evening Standard
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Musical
Original London
32) Dirty Rotten Scoundrels (Original London)
Joué durant 11 mois 1 semaine
Première preview: 10 March 2014
Première: 02 April 2014
Dernière: 07 March 2015
Compositeur: David Yazbek •
Parolier: David Yazbek •
Libettiste: Jeffrey Lane •
Metteur en scène: Jerry Mitchell •
Chorégraphe:
Avec: Robert Lindsay (Lawrence Jameson), Alex Gaumond (Freddy Benson), Katherine Kingsley (Christine Colgate), Bonnie Langford (Muriel Eubanks ), Ben Fox (Andre Thibault), Lizzy Connolly (Jolene), Gavin Alex, Darren Bennett, Niamh Bracken, Lisa Bridge, Darren Carnall, Andy Conaghan, Phoebe Coupe, Claire Doyle, Alice Fearn, Selina Hamilton, Ian Knauer, Lisa Mathieson, Zak Nemorin, Genevieve Nicole, Javier Santos, Todd Talbot, Dominic Tribuzio, Jon Tsouras, Zara Warren.
Commentaire:
Presse: "Most of the pleasure of the show depends on the relationship of this pair, and there is a fizzing on-stage chemistry between Robert Lindsay’s suave and practised deceiver, who offers a hilarious vocal imitation of our own Prince of Wales as he gulls his marks, and Rufus Hound’s oafish interloper." Charles Spencer for The Telegraph
"Every adaptation is burdened by the question ‘What’s the point?’...There is a point to this show, but it’s hardly an essential one." John Nathan for The Independent
"It's not a show that extends the boundaries of the form, but one that simply, and happily, takes us back to the all-but-lost era of musical comedy." Michael Billington for The Guardian
"This is like a Muppet rendition of the comparatively mature, subtle film version . . .." Ian Shuttleworth for The Financial Times
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Musical
Reprise
31) Let it be (Reprise)
Joué durant 1 an 1 semaine
Première preview: 01 February 2013
Première: 01 February 2013
Dernière: 08 February 2014
Compositeur:
Parolier:
Libettiste:
Metteur en scène:
Chorégraphe:
Avec: There are two casts performing in the show, alternating from night to night. The current company is comprised of: Emanuele Angeletti, John Brosnan, James Fox, Michael Gagliano, Reuven Gershon, Stephen Hill, Phil Martin, Luke Roberts
Commentaire: Opened at Prince of Wales Theatre 24 Sep 2012, following previews from 14 Sep, running to 19 Jan 2013. Transfers to Savoy Theatre 1 Feb 2013 (plus)
Presse:
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Musical
Revival
30) Cabaret (Revival)
Joué durant 3 mois 1 semaine
Première preview: 03 October 2012
Première: 09 October 2012
Dernière: 19 January 2013
Compositeur: John Kander •
Parolier: Fred Ebb •
Libettiste: Joe Matseroff •
Metteur en scène: Rufus Norris •
Chorégraphe: Javier De Frutos •
Avec: Michelle Ryan (Sally Bowles), Will Young (Emcee), Sian Phillips (Fraulein Schneider), Harriet Thorpe (Fraulein Kost), Matt Rawle (Cliff), Linal Haf (Herr Schultz), Nicholas Tizzard (Ernst), John Brannoch; Jessica Ellen; Allessia Lugoboni; Edd Mitton; Ian Parsons; Nuno Silva; Rebecca Sutherland; Shahla Tarrant; Laura Tyrer; Cydney Uffindell-Phillips, Matthew Wesley.
Commentaire: Il s'agit de la fin à Londres de l'UK-Tour de 2012.
This was a revival of the dark and disturbing production which had a much praised two year run in 2006. For this revival several of the numbers had been re-staged with different choreography, and some critics felt it had lost some of its power and ability to shock. The performance of “pop-idol” Will Young, in his West End, was acclaimed, and there was much praise for Sian Phillips and Linai Haft. (plus)
Presse: "The chilling descent into Nazi nightmare isn’t realised with enough intensity. The central relationships don’t fully convince, and there is a lack of sensuality." - Henry Hitchings for The Evening Standard
"The final 20 minutes of Rufus Norris's revamped revival of Cabaret are shockingly good." - Michael Billington for The Guardian
"Patchy but inventive production." - Charles Spencer for The Daily Telegraph
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Musical
West End Transfer
29) Soul Sister (West End Transfer)
Joué durant 1 mois 1 semaine
Première preview: 20 August 2012
Première: 23 August 2012
Dernière: 29 September 2012
Compositeur:
Parolier:
Libettiste: Jon Miller • Pete Brooks •
Metteur en scène: Pete Brooks • Bob Eaton •
Chorégraphe: Jason Pennycooke •
Avec: Emi Wokoma (Tina Turner), Chris Tummings (Ike Turner), Sharon Benson, Nadine Higgin, Ngo Ngofa, Joanne Sandi
Commentaire:
Presse: "The words “a star is born” can be hazardous, but Emi Wokoma, who plays Tina Turner in this “bio-musical”, is blessed with star quality and a voice that’s rawly emotional yet also regal. ." Henry Hitchens for The Evening Standard
"Is as much a gig as a piece of theatre...It is for an audience that is willing to give, in order to receive, a seriously good time: they will not be disappointed." Laura Thompson for The Daily Telegraph
"An upscale, highly entertaining tribute show." Paul Vale for The Stage
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Théâtre
Revival
28) Sunshine Boys (The) (Revival)
Joué durant 2 mois 1 semaine
Première preview: 27 April 2012
Première: 17 May 2012
Dernière: 28 July 2012
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Divers •
Metteur en scène: Thea Sharrock •
Chorégraphe:
Avec: Danny DeVito (Willie Clark), Richard Griffiths (Al Lewis), Rebecca Blackstone (Miss MacKintosh), Nick Blakeley (Eddie), Peter Cadden (Voice of TV Director), Johnnie Fiori (Registered Nurse), Adam Levy (Ben Silverman), William Maxwell (Patient)
Commentaire: Kings of comedy, Willie Clark and Al Lewis aka The Sunshine Boys haven t spoken to each other in years. When CBS call for the vaudevillian greats to be re-united for a nostalgic History of Comedy, past grudges resurface as they take centre stage once more. Ageing ailments aside, can this legendary double-act overcome their differences for one last show? (plus)
Presse: "What makes the play profoundly touching as well as funny is Simon's understanding of the obduracy, childishness and professional neglect that are often inseparable from old age...a richly resonant comedy " Michael Billington for The Guardian
"Limp revival...Though there are many real-life examples of "little and large" comedy pairings, these two actors – each excellent in their different ways – never convince you that Simon's fictional duo had spent more than 40 years as a headlining vaudeville double act...A disappointment " Paul Taylor for The Independent
"Thea Sharrock’s production is funny and affectionate, but needs more snap. " Henry Hitchins for The Evening Standard
"This deliciously quirky couple strike great showers of comic sparks off each other...a pitch-perfect production that beautifully captures fleeting moments of tenderness in the comedy without ever turning mushy...This is a golden evening that finds the West End at the top of its game. " Charles Spencer for The Daily Telegraph
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Musical
Original London
27) Legally Blonde (Original London)
Joué durant 2 ans 2 mois 3 semaines
Nb de représentations: 974 représentations
Première preview: 05 December 2009
Première: 13 January 2010
Dernière: 07 April 2012
Compositeur: Laurence O'Keefe • Neil Benjamin •
Parolier: Laurence O'Keefe • Neil Benjamin •
Libettiste: Heather Hach •
Metteur en scène: Jerry Mitchell •
Chorégraphe: Jerry Mitchell •
Avec: Sheridan Smith (Elle Woods), Duncan James (Warner Huntingdon), Peter Davison (Professor Callahan), Jill Halfpenny (Paulette), Chris Ellis-Stanton (Kyle), Aoife Mulholland (Fitness Instructor), Alex Gaumond ( Emmett Forest)
Commentaire: Cette version a eu un succès énorme à Londres… Plus qu'à Broadway. Elle a été une vraie révélation de Sheridan Smith, des hordes de fan l'attendant à la sortie des artistes. (plus)
Presse: "I can only report that the predominantly female audience with whom I saw the show seemed to be having a whale of a time and did not give a damn about the fact that the musical is little more than a nonsensical fairytale. " Micheal Billington for The Guardian /
"Totally blown away...it's ridiculously enjoyable from start to finish." Paul Taylor for The Independent / "Delightful, annoying, supremely wishful musical...Let’s overlook some forgettable tunes and welcome dance that embraces everything from skipping with ropes to spoof Riverdance...Legally Blonde is, well, fun" Benedict Nightingale for The Times / "Among feelgood musicals, Legally Blonde is right up there." Charles Spencer for The Daily Telegraph / "It's energetic and amusing." Henry Hitchings for The Evening Standard / "The plot is pap, the musical unmemorable, the dancing often hefty except for one routine with skipping ropes." Quentin Letts for The Daily Mail / "This musical will not disappoint fans of the movie - it’s a faithful, funny and feel-good adaptation." Evelyn Curlet for The Stage
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Revival
26) Dreamboats and Petticoats (Revival)
Joué durant 3 mois
Première preview: 22 July 2009
Première: 27 July 2009
Dernière: 31 October 2009
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: Laurence Marks • Maurice Gran •
Metteur en scène: Bob Tomson •
Chorégraphe: Carole Todd •
Avec: Scott Bruton, Ben Freeman, Jennifer Biddall, David Cardy, Daisey Wood-Davis, A.J. Dean
Commentaire: The run terminated on 31 October 2009 to make way for Legally Blonde.
This show was inspired by the unexpectedly huge sales of a CD issued by Universal Music, aimed at the nostalgia market. The first “Dreamboats and Petticoats” CD sold over two million copies and led to the creation of a stage show which began a five month UK tour in Bromley in February 2009. The success of the tour led to its West End debut, as a seven-week filler. After a three month gap, the show was re-created at the Playhouse Theatre in January 2010 and is still running at the start of 2012. At the same time a second UK tour played throughout 2010, much of 2011 and is planned to run through 2012. (plus)
Presse: LYN GARDNER for THE GUARDIAN says, " Inoffensive and as squeaky clean as a toothpaste advert, this musical trip down memory lane was inspired by a compilation album of early 1960s hits...Dreamboats and Petticoats is not bad, although it tails off lamely in the second half, but it is not very good either."
FIONA MOUNTFORD for THE EVENING STANDARD says, "peppy production ."
CHARLES SPENCER for THE DAILY TELEGRAPH says, "I confess I loved every moment of this show, hackneyed though the script by TV sitcom writers Laurence Marks and Maurice Gran often is. Bob Tomson’s lively production has great heart, following a group of teenagers at a youth club as they bicker, feud, fall in and out of love and try – and fail – to become pop stars."
VALERIE POTTER for THE LONDON LITE says, "Boasts toe-tapping tunes aplenty, yet ultimately buckles under their weight."
SAM MARLOWE for THE TIMES says, "Although Bob Tomson’s direction is mercifully brisk and the company is well-drilled, there’s a laziness to the concept and a cheapness to its execution that no amount of energetic gyration and forced, cheesy cheeriness can disguise."
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Revival
25) Carousel (Revival)
Joué durant 6 mois 2 semaines
Nb de représentations: 231 représentations
Première preview: 22 November 2008
Première: 02 December 2008
Dernière: 20 June 2009
Compositeur: Richard Rodgers •
Parolier: Oscar Hammerstein II •
Libettiste: Oscar Hammerstein II •
Metteur en scène: Lindsay Posner •
Chorégraphe: Adam Cooper •
Avec: Jeremiah James (Billy Bigelow), Alexandra Silber (Julie Jordan), Lauren Hood (Carrie Pipperidge), Alan Vicary (Enoch Snow), Lesley Garrett (Nettie Fowler), Graham MacDuff (Jigger), Lindsey Wise (Louise), Diana Kent, Derek Hagen, Tom Dwyer
Commentaire: With a first-class cast, much-praised choreography and exciting design making subtle use of projection, this was a very satisfying revival. Those with memories of the quite exceptional National Theatre production sixteen years earlier did find the present show lacking that extra little something, but for everyone else this was superb entertainment. It was originally booked to close at the end of July 2009, but closed a month early, on June 20 th when advance bookings fell away. (plus)
Presse: NICHOLAS DE JONGH for THE EVENING STANDARD says, "Despite Lindsay Posner’s old-fashioned production I was enchanted."
MICHAEL BILLINGTON for THE GUARDIAN says, "I've always thought it a flawed masterwork; and so it proves once again in Lindsay Posner's well-sung revival which holds one's attention until the death of the hero, Billy Bigelow, after which the show ascends into the empyrean and the realms of pseudo-art."
BENEDICT NIGHTINGALE for THE TIMES says, "Captivated by maybe the finest score even Rodgers ever produced."
LIA MARTLAND for THE STAGE says, "Touching and relatively understated staging...Adam Cooper’s choreography can be disappointingly bland."
CHARLES SPENCER for THE DAILY TELEGRAPH says, "Justice has been done to one of the greatest of all musicals."
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Original London
24) Never Forget (Original London)
Joué durant 5 mois 4 semaines
Première preview: 07 May 2008
Première: 21 May 2008
Dernière: 15 November 2008
Compositeur: Gary Barlow •
Parolier: Gary Barlow •
Libettiste: Ed Curtis • Gary Barlow • Guy Jones •
Metteur en scène: Ed Curtis •
Chorégraphe: Karen Bruce •
Avec: Dean Chisnall (Ash Sherwood), Craige Els (Jake Turner ), Tim Driesen (Adrian Banks), Eaton James (Dirty Harry ), Stephane Anelli (Jose Reize), Sophia Ragavelas (Chloe Turner), Joanne Farrell (Annie Borrowman), Teddy Kempner (Ron Freeman), Marilyn Cutts (Babs Sherwood)
Commentaire: Originally premiered in Cardiff in July 2007, followed by a successful tour, the show was re-staged in March 2008 for a six city pre-West End tour. It was a lavish £3 million production with songs written by Gary Barlow and several others, and received very good notices. It ran for six months, closing on November 15th because the Savoy was p r e - b o o k e d f o r “Carousel”. The original plan had been to transfer “Never Forget” to the smaller Lyric Theatre, but it seems the producers wanted to pay lower salaries at the smaller theatre, and Equity resisted. With such a large cast the show had rarely covered its weekly costs, so the transfer was abandoned. It was said the entire £3 million investment was lost on this show (plus)
Presse: FIONA MOUNTFORD for THE EVENING STANDARD says, "Ed Curtis's production is a riot of fake tans, outrageous costumes and the highest-octane choreography the West End has seen in years."
ESTHER WALKER for THE INDEPENDENT says, "The show is good. It's fast-paced and lively, funny and easy on the eye, and the songs have been lovingly and faithfully adapted to the stage."
CHARLES SPENCER for THE DAILY TELEGRAPH says, "I was both smiling and tapping my foot...Pacy production is blessed with a succession of highly energetic, enjoyably erotic dance routines."
LYN GARDNER for THE GUARDIAN says, "There are flashes of droll humour, the actors are engaging and there is a lively vulgarity."
DOMINIC MAXWELL for THE TIMES says, "While it's played at a zip and sung with a smile, it's terrible old cobblers and it knows it."
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23) Legal Fictions ()
Joué durant 1 mois 3 semaines
Première preview: 21 February 2008
Première: 28 February 2008
Dernière: 26 April 2008
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Divers •
Metteur en scène: Christopher Morahan •
Chorégraphe:
Avec: Edward Fox, Nicholas Woodeson, Polly Adams
Commentaire:
Presse: ‘Mortimer can’t be beaten on lunacy and the legal system’
TIMES – Benedict Nightingale – 19 November (Tour Review)
'This double bill is a real treat of wit, humanity and nostalgic English melancholy’
‘Christopher Morahan’s production of this welcome double bill memorably captures Mortimer’s special blend of wit, humanity and proves a real treat.’
TELEGRAPH – Charles Spencer – 19 November (Tour Review)
THE LAST GREAT ECCENTRIC TAKES THE LAW INTO HIS OWN HANDS
‘The chief pleasure of these quietly charming plays lies in appreciating the artful Fox’
‘Fox is an absolute delight to watch’
‘…his command of Mortimer’s comic syntax is never less than lucid and immaculately timed’
DAILY MAIL – Patrick Marmion - 23 November (Tour Review)
‘Fox is becoming a national treasure now, like Mortimer and Alan Bennett: old-fashioned on the outside but ironic trouble-maker within, his eyes gleaming as he lovingly captures his prey’
SUNDAY TIMES – JP – 25 November (Tour review)
‘FOX THRILLS IN HIS BRIEF ENCOUNTERS’
‘slips down like Horlicks with a dash of whisky’
‘Fox is priceless’
MAIL ON SUNDAY – Georgina Brown – 25 November (Tour review)
‘This is a brilliant performance’ (re Edward Fox)
EVENING STANDARD – Nick Curtis - 29 February (West End review)
‘the law is the theme of this Mortimer double bill, a vehicle for the great comic talents of Edward Fox’
‘Fox throws himself into both parts with gusto’
DAILY EXPRESS – Simon Edge - 1st March (West End review)
‘Fox brings an attractive drawling, juvenile vulnerability to his roles as Morgenhall and Truscott’
METRO – Robert Shore - 3 March (West End review)
‘…witty texts as thick as clotted cream, which Edward Fox gets his tongue around with patrician relish.’
THE STAGE – John Thaxter - 03 MARCH (West End review)
‘Edward Fox turns in two jovial comic turns’
TIME OUT – Jonathan Gibbs – 3 March (West End review)
‘Fox, growly, jowly and ruminating, has great fun’
TIMES – Sam Marlowe – 4 March (West End review)
‘Performed with relish’
FINANCIAL TIMES – Sarah Hemming – 6 February (West End review)
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Revival
22) Fiddler on the Roof (Revival)
Joué durant 8 mois 3 semaines
Première preview: 19 May 2007
Première: 29 May 2007
Dernière: 16 February 2008
Compositeur: Jerry Bock •
Parolier: Sheldon Harnick •
Libettiste: Joseph Stein •
Metteur en scène: Lindsay Posner •
Chorégraphe: Jerome Robbins • Kate Flatt •
Avec:
Commentaire:
Presse: FIONA MOUNTFORD for THE EVENING STANDARD says, "Mature, heartfelt, impeccably executed revival." CHARLES SPENCER for THE DAILY TELEGRAPH says, "superb production." LYNN GARDENER for THE GUARDIAN says, "Long, overblown revival does little to make a case for this old-fashioned musical." BENEDICT NIGHTINGALE for THE TIMES says, "Fine revival."
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Revival
21) Porgy and Bess (Revival)
Joué durant 5 mois 3 semaines
Première preview: 25 October 2006
Première: 09 November 2006
Dernière: 05 May 2007
Compositeur: George Gershwin •
Parolier: DuBose Heyward • Ira Gershwin •
Libettiste: DuBose Heyward •
Metteur en scène: Trevor Nunn •
Chorégraphe: Jason Pennycooke •
Avec: Cast: Clarke Peters (Porgy), Nicola Hughes (Bess), O-T Fagbenie (Sportin’Life), Cornell S John (Crown), Edward Baruwa, Yolanda Grant-Thompson, Ruby King, Lorraine Velez, Des Coleman, Anton Stephans
Commentaire: Notes: Trevor Nunn had directed the opera “Porgy and Bess” at Glyndebourne in 1986, and that production, conducted by Simon Rattle, was re-created as a television opera in 1993, and re-staged for a one-night concert version at the 1998 Royal Albert Hall Promenade Season. This, however, was produced as a “musical” not an opera. Working with the Gershwin estate, Nunn used dialogue from the original novel and subsequent Broadway stage play to replace the recitatives with naturalistic scenes. He also considerably reduced its running time. He did not cast operatic voices but relied on musical theatre actors as leads. Gareth Valentine re-scored the work for a 20-strong orchestra (as opposed to the 50 piece symphony orchestra of the Glyndebourne version).
In spite of generally welcoming reviews the show did not attract an audience, and closed after just a few months. (plus)
Presse: NICHOLAS DE JONGH for THE EVENING STANDARD says, " Ardent production." PAUL TAYLOR for THE INDEPENDENT says, " 'Electrifying' is an overworked word in the critical lexicon, but if ever a show deserved it, it is Trevor Nunn's magnificent revival of the Gershwins' Porgy and Bess." SCOTT MATTHEWMAN for THE STAGE says, "A visual and aural spectacle." MICHAEL BILLINGTON for THE GUARDIAN says, "If the show now seems a museum-piece, Nunn's production invests it with social detail...this is an essentially conservative show." BENEDICT NIGHTINGALE for THE TIMES says, "Nunn’s company brings enormous energy and plenty of class to Ira Gershwin’s libretto."
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Original
20) Murderous instincts (Original)
Joué durant 1 semaine
Première preview: 27 September 2004
Première: 07 October 2004
Dernière: 16 October 2004
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Divers •
Metteur en scène:
Chorégraphe: Jhesus Aponte •
Avec: Nichola McAuliffe (Edwina Buckingham), Arvid Larsen (Colin) , Natalie O’Donnell (Lauren), Jonathan D. Ellis (Miguel), Kevin Colson (Adolfo), Simon Clarke (Tweedman, the lawyer), John Capes (Homeless Man), Jhesus Aponte (Enrique), Janet Fuentes Torres (Graciela)
Commentaire: Billed as the “Salsa Comedy Murder Mystery”, written by Cinda Fox, heiress of the Firestone Rubber Company, and produced by her husband, Manny - this was a vanity production doomed from its earliest days. Several directors came and went: one, Bob Carlton, was publicly sacked by a screaming Manny in front of the matinee audience during a Norwich try-out; the second, Michael Rooney (son of Mickey) was forced to quit when refused a work permit, although he did (apparently!) attempt to direct it by telephone from Paris; pre-opening rumours suggested several other director casualties and finally no directing credit appeared - just last minute Murray Melvin and Syd Ralph billed as “Artistic Advisors”. The critics rocked with laughter - laughing at, rather than with, this “fantastically dreadful new musical” - and it was immediately referred to as “Suicidal Tendencies”. It closed after just one week. (plus)
Presse: PAUL TAYLOR for THE INDEPENDENT says,"Knock back a few mojitos first and you could end up having a ball. "
SAM MARLOWE for THE TIMES says, "It's crude, predictable, and not sufficiently melodramatic or daft to entertain even in the most superficial way."
LYN GARDNER for THE OBSERVER says, "Thoughts turn not to murder but to suicide during this misbegotten musical ."
KIERON QUIRKE for TIME OUT says, "Thi sterrible show makes for strangely easy viewing."
PETER HEPPLE for THE STAGE says, "It is a case of predictability meeting banality."
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West End Transfer
19) Return to the Forbidden Planet (West End Transfer)
Joué durant 1 mois 1 semaine
Première preview: 11 December 2001
Première: 11 December 2001
Dernière: 19 January 2002
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: Bob Carlton •
Metteur en scène: Bob Carlton •
Chorégraphe: Carole Todd •
Avec: Sarah Beaumont (Miranda), James Earl Adair (Dr Prospero), Adrian Cobey (Captain Tempest), Diana Croft, Scott Finlay, Zita Frith, Cameron Gordon, Christine Holman, Nick Lashbrook, Jane Milligan, Philip Reed, Frederick Ruth
Commentaire: This re-worked version had transferred from Bob Carlton’s base at the Queen’s Theatre Hornchurch for a limited return season in the West End. (plus)
Presse:
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18) Tess of D'Urbervilles (Original)
Joué durant 1 mois 4 semaines
Nb de représentations: 77 représentations
Première preview: 30 October 1999
Première: 10 November 1999
Dernière: 08 January 1999
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Divers •
Metteur en scène: Karen Louise Hebden •
Chorégraphe: Terry John Bates •
Avec: Poppy Tierney/Phillipa Healey (Tess), Maxine Fone (Young Tess), Jonathan Monks/Robert Irons (Angel Clare), Alasdair Harvey (Alec D’Urberville)
Commentaire: Adapted from Thomas Hardy’s novel. The critic Bill Hagerty summed it up as “Thomas Hardy’s heroine Tess was a mess, wretched and doomed, and the musical at the Savoy is much the same” This was a sung-through show which included country dancing by “buxom elderly milkmaids frolicking on the kind of village green last seen in Palladium pantomimes circa 1955” (The Spectator). At the opening performance the role of Angel Clare was played at the last moment by the understudy, Robert Irons, replacing Jonathan Monks (“who had the good fortune to be unwell” - Mail on Sunday). The show was universally criticised for its mind-numbing banality, and its musical hubris. It ran for ten weeks. (plus)
Presse:
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Revival
17) Hay Fever (Revival)
Joué durant 2 mois 4 semaines
Première preview: 09 June 1999
Première: 14 June 1999
Dernière: 11 September 1999
Compositeur:
Parolier:
Libettiste: Noël Coward •
Metteur en scène:
Chorégraphe:
Avec: Geraldine McEwan as 'Judith Bliss' with Peter Blythe as 'David Bliss', Monica Dolan as 'Sorel Bliss', Stephen Mangan as 'Simon Bliss', Scott Handy as 'Sandy Tyrell', Sylvestra Le Touzel as 'Myra Arundel', Macolm Sinclair as 'Richard Greatham', Cathryn Bradshaw as 'Jackie Coryton' and Anne White as 'Clara'
Commentaire:
Presse: "Intrigue and whimsicality prove deadly partners. Sometimes the emphatic side of Declan Donnellan's production over-eggs the pudding. As in dialogue delivered to a not very funny tango sequence. But Miss McEwan is a riot and a joy as Judith, claiming the role as of right, and as a tipsy, bacchanalian revenge on the outmoded theatre as well as her guests. Cookham is obviously a hell-hole, and the antics of the play a privatised import of sentiment and melodrama to her own doorstep. There are brilliant performances by Sylvestra Le Touzel as an overemphatic, guffawing vamp - who uses sex as a sort of shrimping net and by Malcolm Sinclair as a rigidly bemused diplomat. The scene where the latter falls into an abyss of small talk with Cathryn Bradshaw's common little flapper is a real gem of timing and desperation. So don't catch a cold, catch Hay Fever!" The Daily Mail
"The great joy - and believe me joy is the right word - is that Geraldine McEwan makes a truly divine Mrs Bliss. With her corncrake voice and natural daffiness, she bats her lines off the walls with fabulous theatricality. It's like watching Greta Garbo acting after 15 sherries and a bottle of happy pills. Ms McEwan also adds the idea that Mrs Bliss is certifiable or at least, a couple of cheese straws short of a cocktail party. She gets lovely support from Malcolm Sinclair as the ineffably calm guest and Scott Handy playing Sandy Tyrell. Sylvestra Le Touzel is the hearty Myra Arundel and with Monica Dolan and Peter Blythe as the younger Blisses there's a first-rate ensemble with Cathryn Bradshaw, too, as the frightfully common guest on whom Coward vents his trademark snobbery. If Hay Fever is about anything it's a celebration of the sheer joy of behaving badly. It does it with style in the baronial splendour of Nick Ormerod's gothic set, while Declan Donnelan directs the action in the spirit of a revue. A comic Hay Fever to make your eyes run." The Daily Express
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Original
16) Boogie nights (Original)
Joué durant 2 mois 3 semaines
Nb de représentations: 95 représentations
Première preview: 16 October 1998
Première: 20 October 1998
Dernière: 09 January 1999
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Divers •
Metteur en scène: Jon Conway •
Chorégraphe: Alan Harding •
Avec: Shane Richie (Roddy), Lisa Maxwell (Debs), Sharon Benson (Lorraine), Peter Piper (Spencer), Nicholas Denney (Eamon), Steven Serlin (Terry), Jane Doyle, Mark Thrippleton, Ian Royce, John Blackman, Jo Redbum, Simon Smith.
Commentaire: This was a touring production which had originated at the Churchill Theatre in Bromley, and was playing a limited season in the West End. It received very mixed notices: “the most dismal of my theatregoing experiences”, “a blatant rip-off’, “pleasantly terrible, weirdly wonderful”, “sends us home on a nine-mile high”. The critics generally liked Shane Richie, but were unanimous in their praise for the young chorus boy-dancer, Simon Smith, saying he was the best thing in the show. (plus)
Presse:
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Revival
15) She loves me (Revival)
Joué durant 1 an
Nb de représentations: 407 représentations
Première preview: 30 June 1994
Première: 12 July 1994
Dernière: 17 July 1995
Compositeur: Jerry Bock •
Parolier: Sheldon Harnick •
Libettiste: Joe Matseroff •
Metteur en scène: Scott Ellis •
Chorégraphe: Rob Marshall •
Avec: Ruthie Henshall (Amalia Balash), John Gordon-Sinclair (Georg Nowack), Tracie Bennett (Ilona Ritter), Gerard Casey (Steven Kodaly), David de Keyser (Zoltán Maraczek), Barry James (Ladislaw Sipos)
Commentaire: This much-praised revival ran almost one year. (plus)
Presse:
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Original London
14) Sugar Babies (Original London)
Joué durant 3 mois 2 semaines
Nb de représentations: 127 représentations
Première preview: Inconnu
Première: 20 September 1988
Dernière: 07 January 1989
Compositeur: Jimmy McHugh •
Parolier: *** Divers • Al Dubin • Dorothy Fields • Ralph G. Allen •
Libettiste: Harry Rigby • Ralph G. Allen •
Metteur en scène: Ralph G. Allen •
Chorégraphe:
Avec: Mickey Rooney, Ann Miller, Rhonda Burchmore, Chris Emmett, Peter Reeves, Len Howe, Bryan Burdon, Michael Davis
Commentaire: This was a show plagued by injury and postponement. Originally planned to open in the middle of August, it was delayed for a month after Ann Miller suffered an injury. However, once it opened it was acclaimed as a glorious throw-back to the days of variety - a dove act, a juggling act, and a series of sketches in a schoolroom, in a court-room, and a flag-waving finale. Ann Miller and Mickey Rooney won over the critics and audiences alike with their “professionalism and sheer class”. The production had opened in New York in 1979 and had been touring more or less ever since. (plus)
Presse:
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13) Kiss me Kate (Revival)
Joué durant 7 mois
Première preview: 15 January 1988
Première: 15 January 1988
Dernière: 13 August 1988
Fait partie de: London Run
Compositeur: Cole Porter •
Parolier: Cole Porter •
Libettiste: Bella Spewack • Samuel Spewack •
Metteur en scène: Adrian Noble •
Chorégraphe: Ron Field •
Avec: Paul Jones (Fred Graham), Nichola McAuliffe (Lili Vanessi), Jeffrey Dench (Harry), Fiona Hendley (Lois Lane) , Tim Flavin (Bill Calhoun), Emil Wolk & John Bardon (Gangsters), Earline Bentley (Hattie)
Commentaire: This production opened at Stratford on Avon in January and then did a short tour before arriving in the West End. It played the Old Vic from May to December (with a two week break in August) and then transferred to the Savoy for a further 7 months. Cast changes for the transfer to the Savoy included Tim Flavin, Nicola McAuliffe, James Smillie, and Berwick Kaler. (plus)
Presse:
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Parolier: Cole Porter •
Libettiste: Bella Spewack • Samuel Spewack •
Metteur en scène: Adrian Noble •
Chorégraphe: Ron Field •
Avec: Paul Jones (Fred Graham), Nichola McAuliffe (Lili Vanessi), Jeffrey Dench (Harry), Fiona Hendley (Lois Lane) , Tim Flavin (Bill Calhoun), Emil Wolk & John Bardon (Gangsters), Earline Bentley (Hattie)
Musical
Original London
12) Mystery of Edwin Drood (The) (Original London)
Joué durant 1 mois 4 semaines
Nb de représentations: 68 représentations
Première preview: 07 May 1987
Première: 07 May 1987
Dernière: 04 July 1987
Compositeur: Ruppert Holmes •
Parolier: Ruppert Holmes •
Libettiste: Ruppert Holmes •
Metteur en scène: Wilford Leach •
Chorégraphe: Graciela Daniele •
Avec: Ernie Wise (Chairman/ William Cartwright), Lulu (Princess Puffer/Angela Prysock) , Julia Hills (Edwin Drood/Alice Nutting), Kevin Ranson (Stage Manager/ James Throttle), David Burt (John Jasper/Clive Paget), Paul Bentley, Martin Wimbush, Amanda Dainty
Commentaire: The 1985 Broadway production with Betty Buckley and Cleo Laine ran for 608 performances and picked up four Tony Awards, and yet the London version was a flop. (plus)
Presse:
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11) High Spirits (Original London)
Joué durant 2 mois 3 semaines
Nb de preview: 1 previews
Nb de représentations: 94 représentations
Première preview: 02 November 1964
Première: 03 November 1964
Dernière: 23 January 1965
Compositeur: Hugh Martin • Timothy Gray •
Parolier: Hugh Martin • Timothy Gray •
Libettiste: Hugh Martin • Timothy Gray •
Metteur en scène: Noël Coward • Hugh Martin • Timothy Gray •
Chorégraphe:
Avec: Cicely Courtneidge (Madam Arcati), Denis Quilley (Charles Condomine), Jan Waters (Ruth), Marti Stevens (Elvira)
Commentaire:
Presse:
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Revival
10) Othello (Revival)
Joué durant 1 mois 2 semaines
Première preview: 19 May 1930
Première: 19 May 1930
Dernière: 05 July 1930
Compositeur:
Parolier:
Libettiste: William Shakespeare •
Metteur en scène:
Chorégraphe:
Avec: Duke of Venice: Lawrence D’Orsay; Brabantio: Conway Dixon; Gratiano: John Garside; Lodovico: Philip Desborough; Othello: Paul Robeson; Cassio: Max Monte-sole; Iago: Maurice Browne/Hilary Fisher-White; Roderigo: Ralph Richardson; Montano: Vernon Fortescue; Clown: Horace Sequeira; Singer: John Thompson; Ensemble: A. J. Brown, Andrew Cruickshank, Robin Craven, Michael Curwen, Harold Dewhurst, W. V. Garrod, Geoffrey Gomer, Wilfred Grantham, John Horsley, Gerald Kent, Cecil Rayne, Russell Sedgwick, [Alastair] Sim, Leslie Sorrell, John Thompson, John V. Trevor, Richard Turner, Herbert Uzielli, Gerald Vane, C. Jervis Walter, Richard Williams, Rowland Dyson, A. Whitaker.
Desdemona: Peggy Ashcroft; Emilia: Sybil Thorndike; Bianca: Naomie Ludolf; Ensemble: Rita Daniel, Winifred Oughton, Margaret Barr, Joyce Peters, Rosemary Showler.
Commentaire: La première fois à Londres que le rôle d'Othello est joué par un acteur noir, le magnifique Paul Robeson (qui avait joué Joe dans Show Boat quelques temps auparavant): "He’s concocted this perfect cocoon exterior: he is the statue of a perfect man. But the statue is flawed: Shakespeare gives him one fissure. The fissure cracks and the statue breaks. He is too jealous: the fault is self-deception. He’s the greatest exponent of self-deception there’s ever been. "
Les débuts à Londres d'Andrew Cruickshank. (plus)
Presse: "The two pervasive attributes Paul Robeson brought to his role were “tranquil dignity and a melancholy infinitely sad,” while Peggy Ashcroft was “a little less interesting than Desdemona should be” (Times).
“Paul Robeson understands completely and superbly the personality of Othello” (Nation).
“Vastly significant passages are cut from the text, in favour of totally unnecessary diversions in the way of dancing, trumpeting, decoration and noisy changes of scene” (Spectator).
Wearing, J. P.. The London Stage 1930-1939 . Rowman & Littlefield Publishers. Édition du Kindle.
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Original London
9) Young Idea (The) (Original London)
Joué durant 1 mois 3 semaines
Première preview: Inconnu
Première: 01 February 1923
Dernière: 24 March 1923
Compositeur:
Parolier:
Libettiste: Noël Coward •
Metteur en scène:
Chorégraphe:
Avec: Herbert Marshall, Kate Cutler, Noël Coward (Sholto)
Commentaire:
Presse: "Mr Noël Coward calls his brilliant little farce a 'comedy of youth', and so it is. And youth pervaded the Savoy last night, applauding everything so boisterously that you felt, not without exhilaration, that you were in the midst of a 'rag'."
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Return Engagement
8) Merrie England (Return Engagement)
Joué durant 1 mois 3 semaines
Nb de représentations: 56 représentations
Première preview: 24 November 1902
Première: 24 November 1902
Dernière: 17 January 1903
Compositeur: Edward German •
Parolier: Basil Hood •
Libettiste: Basil Hood •
Metteur en scène: Basil Hood •
Chorégraphe: ???? ???? •
Avec:
Commentaire:
Presse:
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Original
7) Merrie England (Original)
Joué durant 3 mois 4 semaines
Nb de représentations: 120 représentations
Première preview: 02 April 1902
Première: 02 April 1902
Dernière: 30 July 1902
Compositeur: Edward German •
Parolier: Basil Hood •
Libettiste: Basil Hood •
Metteur en scène: Basil Hood •
Chorégraphe: ???? ???? •
Avec:
Commentaire:
Presse:
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6) Gondoliers (The) (Original)
Joué durant
Nb de représentations: 554 représentations
Première preview: 07 December 1899
Première: 07 December 1899
Dernière: 30 June 1891
Compositeur: Arthur Sullivan •
Parolier: W.S. Gilbert •
Libettiste: W.S. Gilbert •
Metteur en scène:
Chorégraphe:
Avec: THE DUKE Of PLAZATORO (a Grandee of Spain): Mr. Frank Wyatt / LUIZ (his Attendant): Mr. Wallace Brownlow / DON ALHAMBRA DEL BOLERO (The Grand Inquisitor): Mr. W. H. Denny / MARCO PALMIERI: Mr. Courtice Pounds / GIUSEPPE PALMIERI (Gondolier): Mr. Rutland Barrington / ANTONIO (Gondolier): Mr. Metcalf / FRANCESCO (Gondolier): Mr. Rose / GIORGIO (Gondolier): Mr. De Pledge / ANNIBALE (Gondolier): Mr. Wilbraham / THE DUCHESS OF PLAZATORO: Miss Rosina Brandram / CASILDA (her Daughter): Miss Decima Moore / GIANETTA (Contadina): Miss Geraldine Ulmar / TESSA (Contadina): Miss Jessie Bond / FIAMETTA (Contadina): Miss Lawrence / VITTORIA (Contadina): Miss Cole / GIULIA (Contadina): Miss Phyllis / INEZ (The King's Foster Mother): Miss Bernard
Commentaire:
Presse: "The Gondoliers; or, the King of Barataria, the new opera by Mr. Gilbert and Sir Arthur Sullivan, was received on Saturday night with such hearty and unanimous approbation as to make it easy to augur that it will be long before the next of the series is required. If a position among the best of the joint authors’ productions be ultimately accorded to the new work, as will probably be the case, it will be due less to any remarkable originality or interest in the plot than to the dialogue, which is in Mr. Gilbert’s very best style, and the bright and sparkling music, some of which is quite irresistible in its melodious gaiety, while all is, as usual, spontaneous, refined, and thoroughly characteristic of the composer. In its combination of extreme complexity with almost complete absence of incident the story rivals that of Il Trovatore, which it resembles in one important point. " The Times, Monday, December 9, 1889
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Original
5) Rose of Persia (The) (Original)
Joué durant
Nb de représentations: 220 représentations
Première preview: 29 November 1899
Première: 29 November 1899
Dernière: 28 June 1900
Compositeur: Arthur Sullivan •
Parolier: Basil Hood •
Libettiste: Basil Hood •
Metteur en scène:
Chorégraphe:
Avec:
Commentaire:
Presse: It is a long time since a success like that of The Rose of Persia has befallen the management of this theatre; and in fact it may be said that since the days of The Mikado it is not easy to point to a first night that has pleased everybody, including those whom it is best worth while to please, whether from the artistic or the financial point of view. An extremely well-contrived libretto, in which various motives from the “Arabian Nights” are combined with excellent effect by Captain Basil Hood, has been set by Sir Arthur Sullivan with all the spontaneity and refinement of his earlier years, and the result is an entertainment that yields to none of its predecessors in charm or brightness.
The main thread of the story is the famous “Sleeper Awakened” which has served such different purposes, from the introduction to The Taming of the Shrew to Weber’s Abu Hassan; with this several stories are interwoven, such as the adventures of the Sultana Zubeydeh and several others of the “ nights”; the verses and dialogue are really funny and original, and the Gilbertian standard in regard to the kind of social satire with which the patrons of the theatre were formerly more familiar than they are now has been fully maintained. The author has a happy knack of putting things, and many a couplet of “Something in the City” will pass into the current small change of conversation besides the lines to the effect that
“Riches and imposing rank
“Have sprung from rank imposing.”
To enumerate the points of skill and beauty in the music would on this occasion be as difficult as on some former first nights it bas been easy. Brilliant solos, concerted pieces, and dances succeed one another after the fashion of the best traditions of the Savoy, and not the least pleasant part of the surprise that awaits the hearers is the originality of the whole. Oriental characteristics are used with the greatest ingenuity, as in the two notes on which the chorus of beggars accompanies the diverting dance of Hassan in the first act, and here and there in other passages there is a slight “local” allusion of the same kind. The most popular of the many numbers written in a popular style is the tenor drinking song which succeeds this immediately.
The only important defect of the music is that the leading soprano part has been written for the curious high notes possessed by Miss Ellen Beach Yaw, who, as the Sultana, is required in her first number to attack the F in altiss., the highest note of the Queen of Night music in Die Zauberflöte. Her song “’Neath my lattice” has a charming ring of Weber about it; but it can hardly be hoped that there are as many owners of these notes as will undoubtedly be required before long. The Sultana’s plea for mercy in the finale of the first act must remind every hearer of Rebecca’s prayer in Ivanhoe, just as the rather unnecessary quartet in the second act recalls the misnamed “madrigal” in The Mikado. A deliciously funny scene in which the Sultan and his officials enter Hassan’s house disguised as Dervishes will probably be made even more effective than it was last night; but the scene in which various persons under sentence of death try and think of a story with which to entertain the Sultan and so prolong their lives is one of the great hits, and the finale is capital. Until its latter part is reached this second act is, to say the truth, a little apt to drag, but it more than makes up.
Putting aside Miss Beach Yaw’s high notes, she looks very pretty and acts with some charm; but the principal part is that played by Miss Rosina Brandram as the first of Hassan’s 25 wives; in a wonderful make-up she acts and sings with the utmost vivacity, point, and effect. Misses Jessie Rose, Louie Pounds, and Emmie Owen are very lively slaves, and as the youngest of the wives Miss Isabel Jay wins success. As Hassan, Mr. Passmore is in his element, and from beginning to end he makes the very most of the many good chances the librettist has given him. Mr. H. A. Lytton is a handsome Sultan, but scarcely gets as much fun out of his part as it might be made to yield, while Mr. Robert Evett sings the somewhat lackadaisical part of the story-teller Yussuf very well. Mr. Reginald Crompton, a very tall basso, with an excellently comic face, is capital as the Royal Executioner; and it would be impossible to praise too highly the lovely dresses and scenery of the piece, or the care in its preparation, which at the Savoy is a matter of course. The author, the composer, and Mr. D’Oyly Carte were called before the curtain at the end.
The Times - Thursday, November 30, 1899
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Revival
4) Trial by Jury (Revival)
Joué durant
Nb de représentations: 174 représentations
Première preview: 06 June 1899
Première: 06 June 1899
Dernière: 25 November 1899
Compositeur: Arthur Sullivan •
Parolier:
Libettiste: W.S. Gilbert •
Metteur en scène:
Chorégraphe:
Avec:
Commentaire: Joué comme second pièce à côté de "The Sorcerer" de Gilbert & Sullivan (plus)
Presse:
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Revival
3) Trial by Jury (Revival)
Joué durant
Nb de représentations: 102 représentations
Première preview: 22 September 1898
Première: 22 September 1898
Dernière: 31 December 1898
Compositeur: Arthur Sullivan •
Parolier:
Libettiste: W.S. Gilbert •
Metteur en scène:
Chorégraphe:
Avec:
Commentaire: Joué comme second pièce à côté de "The Sorcerer" de Gilbert & Sullivan (plus)
Presse:
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2) Grand Duke (The) (Original)
Joué durant
Nb de représentations: 123 représentations
Première preview: 07 March 1896
Première: 07 March 1896
Dernière: 11 August 1896
Compositeur: Arthur Sullivan •
Parolier: W.S. Gilbert •
Libettiste: W.S. Gilbert •
Metteur en scène:
Chorégraphe:
Avec: Mr. Walter Passmore (RUDOLPH (Grand Duke of Pfennig Halbpfennig)), Mr. Charles Kenningham (ERNEST DUMMKOPF (a Theatrical Manager)), Mr. Rutland Barrington (LUDWIG (his Leading Comedian)), Mr. Scott Russell (DR. TANNHUSER (a Notary)), Mr. Scott Fische (THE PRINCE OF MONTE CARLO), Mr. E. Carlton (VISCOUNT MENTONE), Mr.C. Herbert Workman (BEN HASHBAZ (a Costumier)), Mr. Jones Hewson (HERALD), Miss Emmie Owen (THE PRINCESS OF MONTE CARLO (betrothed to RUDOLPH)), Miss Rosina Brandram (THE BARONESS VON KRAKENFELDT (betrothed to RUDOLPH)), Miss Ilka Palmay (JULIA JELLICOE (an English Comédienne)), Miss Florence Perry (LISA (a Soubrette)), ...
Commentaire:
Presse: The Grand Duke, the last of Gilbert and Sullivan's operettas, although rarely performed, seems to inspire either love or hate! Even the author and composer had reservations about their last collaborative effort.
Sullivan wrote in his diary March 7, 1896: "...began new opera "Grand Duke" at 1/4 past eight - usual reception. Opera went well; over at 11:15. Parts of it dragged a little, dialogue too redundant, but success great and genuine I think. Thank God opera is finished and out."
And in a letter written to Frank Burnand March 12, 1896 from Monte Carlo: "Why reproach me? I didn't write the book!...I arrived here dead beat and feel better already. Another week's rehearsal with W. G. S. and I should have gone raving mad. I had already ordered some straw for my hair."
Gilbert was slightly more ambivalent about his creation, taking full blame for the opera's deficiencies. In a letter to Mrs. Bram Stoker he wrote: "...I have had rather a bad time of it, but now that the baby is born, I shall soon recover. I pick up very quickly (thank God!) after these little events. I'm not at all a proud Mother, and I never want to see this ugly misshapen little brat again."
The critics seemed to be of two minds, generally critical of the opera as a whole, while mindful of the fact that this would be the last opera produced by the great duo.
The Times set the tone for these reviews saying, "The welcome accorded to a new Gilbert and Sullivan opera increases...with each member of the famous series and its warmth is all the greater..." They went on, however: "The Grand Duke is not by any means another Mikado...the libretto is very conspicuously inferior to the music. There are still a number of excellent songs, but the dialogue seems to have lost much of its crispness."
The Musical Standard went even further, stating: "Mr. Gilbert is decidedly at his best in the first half of the second act...If the opera could only be compressed, for it becomes very wearisome in places."
On the other hand, The Daily Chronicle enthusiastically endorsed the opera, trumpeting: "His [Gilbert's] lyrics...teem with those quaint turns of expression expected..." and of the composer, "His music has all the olden attractiveness...For the time being he is the Sullivan of H.M.S. Pinafore, The Mikado, and The Gondoliers." Whatever your feelings about Gilbert and Sullivan and this last operetta, here is one final thought -- in his book Gilbert and Sullivan, Lost Chords and Discords, Caryl Brahms notes, "The next English musical collaboration to sweep five continents was the Beatles..."
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