Le monde des musicals

Version 1

Death Takes A Holiday (2011-07-Laura Pels Theatre-Off Broadway)

Type de série: Original
Théâtre: Laura Pels Theatre (Broadway (Off) - Etats-Unis)
Durée : 1 mois 2 semaines
Nombre :
Première Preview : Sunday 10 July 2011
Première : Thursday 21 July 2011
Dernière : Sunday 04 September 2011
Mise en scène : Doug Hughes •
Chorégraphie : Peter Pucci •
Producteur :

Version 2

Father (The) (2016-04-Samuel J. Friedman Theatre-Broadway)

Type de série: Original Broadway
Théâtre: Samuel J. Friedman Theatre (Broadway - Etats-Unis)
Durée : 2 mois
Nombre :
Première Preview : Tuesday 22 March 2016
Première : Tuesday 12 April 2016
Dernière : Sunday 12 June 2016
Mise en scène : Doug Hughes •
Chorégraphie :
Producteur :
Avec : Frank Langella (Andre)

Version 3

Junk (2017-11-Vivian Beaumont Theatre-New York)

Type de série: Original
Théâtre: Lincoln Center for the Performing Arts (New-York - Etats-Unis)
Durée : 2 mois
Nombre : 30 previews - 77 représentations
Première Preview : Thursday 05 October 2017
Première : Thursday 02 November 2017
Dernière : Sunday 07 January 2018
Mise en scène : Doug Hughes •
Chorégraphie :
Producteur :
Avec :
Steven Pasquale (as Robert Merkin), with Ito Aghayere, Phillip James Brannon, Tony Carlin, Caroline Hewitt, Rick Holmes, Ted Koch, Teresa Avia Lim, Danny Mastrogiorgio, Nate Miller, Ethan Phillips, Matthew Rauch, Matthew Saldivar, Michael Siberry, Miriam Silverman, Joey Slotnick, and Henry Stram
Commentaires : Lincoln Center Theater continues its fruitful relationship with Pulitzer Prize-winning playwright and Tony Award nominee Ayad Akhtar with the Broadway premiere of Junk. They previously collaborated on The Who & The What and Disgraced, with the latter transferring to Broadway and earning a Tony Award nomination in 2015.

Broadway favorite Steven Pasquale takes the lead as Robert Merkin in the topical drama Junk, which runs through to January 7, 2018 at Lincoln Center... And who could have known that the financial markets could make for such compelling theater?

Merkin may be a fictional character but the similarities with one Michael Milken - a former financier and philanthropist - are plain as day. His influence in big business buyouts through the implication of high-yield "junk" bonds provides much of the drive of the narrative until his ultimate guilty plea and conviction of unlawful insider dealings. Pasquale delivers an unsetlling and equally beguilling performance as Merkin - the alpha-male in the room who nobody is seemingly able or willing to challenge. Indeed, the entire ensemble cast recreates a world, set in the mid-1980s, where unsavoury characters lurk behind every business venture and where misogyny and racial prejudice run rampant in the workplace... Look how far we've come...

The sad truth is that Akhtar's period piece all too often feels like it isn't period at all and the opening of Junk on Broadway could not have been more timely.
Presse : "Never mind that its title is a synonym for rubbish, and evokes images of teeming garbage dumps and the overstuffed closets of hoarders. "Junk", Ayad Akhtar’s eagerly anticipated drama of dirty dealings on Wall Street in the 1980s, is, for better or worse, the tidiest show on Broadway." Ben Brantley for New York Times

"Doug Hughes (“Doubt”) directs a crisp and fluid staging. The stark, two-story compartmentalized set complements the impersonal, chilly drama. With a cast of 23, the play is Akhtar’s most densely populated work. While most characters don’t elude cliches, the acting is uniformly fine." Joe Dziemianowicz for New York Daily News

"Staged by Doug Hughes for Lincoln Center Theater, whose taste for quasidocumentary epics was also evinced in last season’s Oslo, Junk melds a breadth of genres—crime story, tragedy, issue play, cautionary tale—into a fast-moving, broad-ranging social thriller." Adam Feldman for Time Out New York

"Directed by Doug Hughes with a solid cast of 23 and a tireless foot on the accelerator, this is the kind of large-canvas, intelligent drama that Lincoln Center Theater does impeccably, notably so last season with Oslo. The difference, however, is that J.T. Rogers' Tony-winning play had richly individualized characters with incisively drawn cultural distinctions to flesh out the dense detail of its political history lesson. Junk, by contrast, is populated with aggressive arbitrageurs, inside traders and number-crunching sharks, all swimming more or less in the same pool." David Rooney for Hollywood Reporter

"“Junk” doesn’t exactly illuminate the mysterious process whereby corporate marauders ruthlessly eviscerate and in due course take over companies that resist their takeover bids. What it does do, in this slickly directed production directed by Doug Hughes, is capture the electric energy that fueled these aggressive acquisitions, along with the intoxicating sense of power that blinded the raiders to all other principles and values." Marilyn Stasio for Variety