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Musique: Jerry Herman • Paroles: Jerry Herman • Livret: Michael Stewart • Production originale: 16 versions mentionnées
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Genèse: Original Broadway production The musical, directed and choreographed by Gower Champion and produced by David Merrick, opened on January 16, 1964, at the St. James Theatre and closed on December 27, 1970, after 2,844 performances. Carol Channing starred as Dolly, with a supporting cast that included David Burns as Horace, Charles Nelson Reilly as Cornelius, Eileen Brennan as Irene, Jerry Dodge as Barnaby, Sondra Lee as Minnie Fay, Alice Playten as Ermengarde, and Igors Gavon as Ambrose. Although facing competition from Funny Girl with Barbra Streisand, Hello, Dolly! swept the Tony Awards that year, winning awards in ten categories (out of eleven nominations) that tied the musical with the previous record keeper South Pacific, a record that remained unbroken for 37 years until The Producers won twelve Tonys in 2001. After Channing left the show, Merrick employed a string of prominent actresses to play Dolly, including Ginger Rogers, Martha Raye, Betty Grable, Pearl Bailey (in an all-black version with Cab Calloway, Mabel King, Clifton Davis, Ernestine Jackson and a young Morgan Freeman), Phyllis Diller, and Ethel Merman after having turned down the lead at the show's inception. Two songs cut prior to the opening — typical Mermanesque belt style songs "World, Take Me Back" and "Love, Look in My Window" — were restored for her run. Thelma Carpenter played Dolly at all matinees during the Pearl Bailey production and subbed more than a hundred times, at one point playing all performances for seven straight weeks. Bibi Osterwald was the standby for Dolly in the original Broadway production, subbing for all the stars, including Bailey, despite the fact that Osterwald was a blue-eyed blonde. Bailey received a Special Tony Award in 1968. The show received rave reviews, with "praise for Carol Channing and particularly Gower Champion." The original production became the longest-running musical (and third longest-running show) in Broadway history up to that time, surpassing My Fair Lady and then being surpassed in turn by Fiddler on the Roof. The Broadway production of Hello Dolly grossed $27 million. Hello, Dolly! and Fiddler remained the longest-running Broadway record holders for nearly ten years until Grease surpassed them. Tour and regional Dollys Dorothy Lamour, Eve Arden, Ann Sothern, Michele Lee, Alice Faye, Edie Adams, and Yvonne De Carlo played the role on tour. Molly Picon appeared as Dolly in a 1971 production by the North Shore Music Theatre of Beverly, Massachusetts. Lainie Kazan starred in a production at the Claridge Atlantic City. Both Tovah Feldshuh and Betsy Palmer played Dolly in productions by the Paper Mill Playhouse. Marilyn Maye also starred in several regional productions and recorded a full album of the score. Original London production Hello, Dolly! premiered in the West End at the Theatre Royal, Drury Lane on December 2, 1965 and ran for 794 performances. Champion directed and choreographed, and the cast starred Mary Martin as Dolly and Loring Smith as Horace Vandergelder, with Johnny Beecher as Barnaby, Garrett Lewis as Cornelius, Mark Alden as Ambrose Kemper and Marilynn Lovell as Irene Molloy. Dora Bryan replaced Martin during the run. Revivals The show has been revived three times on Broadway: • November 6, 1975 - December 28, 1975, Minskoff Theatre - Starring Pearl Bailey and Billy Daniels in an all-black production (42 performances) • March 5, 1978 - July 9, 1978, Lunt-Fontanne Theatre - Starring Carol Channing & Eddie Bracken. (147 performances) • October 19, 1995 - January 28, 1996, Lunt-Fontanne Theatre - Starring Carol Channing & Jay Garner (116 performances) In London's West End, the show has been revived three times: • 1979 - Starring Carol Channing at the Theatre Royal, Drury Lane and Shaftesbury Theatre • January 3, 1984 - April 27, 1984 - Starring female impersonator Danny La Rue as Dolly at the Prince of Wales Theatre • July 30, 2009 - September 12, 2009 - Starring Samantha Spiro (Dolly) and Allan Corduner (Horace) at the Open Air Theatre, Regent's Par. Spiro won the Olivier Award for her performance. International productions • The original German production of Hello, Dolly!, with the title character's surname "Wassiljewa" (Vasilyeva) rather than "Levi," starred Tatjana Iwanow (Tatyana Ivanov). • The first production in Spanish was held in 1967 at the Teatro Nacional in Buenos Aires, starring Argentinian actress and tango singer Libertad Lamarque, who also did it in Mexico. • In 1996, Mexican diva Silvia Pinal starred in the Spanish language version of the musical, ¿Qué tal Dolly? ("What's Up, Dolly?"), opposite Ignacio Lopez Tarso in Mexico City. • In 1985, Cuban diva Rosita Fornes played Dolly Levis in a Cuban production of Hello, Dolly by the Teatro Karl Marx in Havana, Cuba. She also played the role in Camaguey city and in a television production under director Manolo Rifat. Tours • Mary Martin starred in a US tour, starting in April 1965 and playing in 11 cities. The production also toured in Japan, Korea and Vietnam for a special USO performance for U.S. troops. • A second US tour began in September 1965, headed by Channing, and ran for two years and nine months. Eve Arden and Dorothy Lamour were replacements. • In 2008, Anita Dobson toured in the UK.
Résumé: Dans les années 1890, Dolly Gallagher Levi est veuve et marieuse à New York. Horace Vandergelder, riche marchand de Yonkers, l’engage pour lui trouver une moitié convenable. Tout en s’efforçant de lui présenter quelques partis, Dolly a en réalité déjà décidé que la «demi-fortune» de Horace lui convenait tout à fait. Pour arriver à ses fins, elle s’assure la sympathie des deux employés de la boutique, Cornelius et Barnaby, véritablement harcelés par leur patron peu avenant, et de la nièce de celui-ci, en favorisant leurs rencontres avec leurs bien-aimés respectifs.. aux frais de Mr Vandergelder ! Tout sera bien qui finira bien, après de joyeux quiproquos, des chansons, des danses, des parades, des portes qui claquent, des plateaux qui tournoient, des poulets farcis qui volent, des tartes à la crème, j’en passe et des meilleures.
Création: 16/1/1964 - St. James Theatre (Broadway) - 2844 représ.
Musique: Jerry Herman • Paroles: Jerry Herman • Livret: Jerome Lawrence • Robert E Lee • Production originale: 8 versions mentionnées
Résumé: Who is Mame? There's surely one in every community, often there's one in every family. Some of the wild, exploratory spirit of Mame bubbles in each and every human being who believes that "life is a banquet!" Mame is Eve, St. Joan, Lady Godiva, Susan B. Anthony, Clara Bow and Florence Nightingale, all rolled into one. She epitomises optimism, the power of positive -thought and sheer joie-de-vivre, and projects them to everyone that meets her, influencing and improving the lives of them all. She is ageless, timeless, graceful, beautiful, kind and elegant. She dances, too, and cuts across all barriers, whether of age, colour; creed or gender. We have all seen hundreds of Auntie Mames and in each and every one, there seemed to be a flash of something a bit different, a new discovery in the way that this particular remarkable lady thinks, feels and moves. Musically the show is packed with Jerry Herman songs that are in perfect accord with the whole positive attitude of the story, and includes what is probably the most memorable title song ever written.
Création: 24/5/1966 - Winter Garden Theatre (Broadway) - représ.
Musique: Jerry Herman • Paroles: Jerry Herman • Livret: Michael Stewart • Production originale: 4 versions mentionnées
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Genèse: Ed Lester, the director of the Los Angeles Civic Light Opera, suggested the project to Jerry Herman, who then involved Michael Stewart. David Merrick agreed to produce, and Gower Champion was engaged to direct and choreograph. Although Champion had initially declined the offer, he eventually accepted, especially when it was decided to hold the pre-Broadway tryouts in California. Robert Preston was hired as Mack. For the role of Mabel, several actresses were engaged and then let go, including Marcia Rodd and Kelly Garrett, before the young Bernadette Peters finally joined the cast. Pre-Broadway tryouts Mack & Mabel opened in pre-Broadway tryouts in San Diego on June 17, 1974 and then Los Angeles, with brisk box office sales in both cities. According to The New York Times, " 'Mack and Mabel' has been doing rather better than its probable guarantee [in Los Angeles] – up to $150,000 in its final seven-day period." The musical received reviews that ranged "from fair to phenomenal in San Diego, Los Angeles, and St. Louis". The Los Angeles reviews were "encouraging but guarded", and warned "of the excessive comic sequences, uneven book, and, most especially, the dark ending." Buoyed by the critical response and initial public enthusiasm for the show, Herman and company ignored a number of warning signs. Neither Sennett nor Normand was a particularly lovable character, and their story was darker than that usually found in a musical. Preston (as Sennett) was too old for Peters (Mabel), and their characters lacked chemistry. Champion devised a number of eye-catching visual effects and spectacular dance sequences set to Philip J. Lang's orchestrations, but their brightness proved to be too great a contrast with the somber mood of the piece. His concept of setting the action in the corner of a huge studio soundstage created problems with the set and limited the staging to the extent that it was seen as static and boring. Audiences "were not ready for a down-beat saga about a cocaine-sniffing movie queen." Efforts were made to resolve the problems at The Muny in St. Louis, where the musical ran for one week starting August 19, 1974, but this venue was a "terrible mistake". Because The Muny was so large, the performers overplayed and pulled the show out of shape. By the Washington, D.C. Kennedy Center engagement, "nothing was working", and Champion changed the staging of scenes that had previously worked. Richard Coe in his The Washington Post review stated that it had landed at the Kennedy Center "with all the zip of a wet, very dead flounder." Broadway The musical opened at the Majestic Theatre on Broadway on October 6, 1974, and closed on November 30, 1974 after 66 performances and 6 previews. Scenic design was by Robin Wagner, costume design by Patricia Zipprodt, and lighting design by Tharon Musser. In addition to Preston and Peters, the cast featured Lisa Kirk as Lottie Ames and James Mitchell as William Desmond Taylor. Despite only fair reviews and the short run, the show received eight Tony Award nominations: for Best Musical, the book, direction, choreography, lead actor, lead actress and designs but did not win any. Herman, whose melodic score had received the best notices, was not nominated. He was deeply disappointed, since the project had been one of his favorites (and remains so), and he felt producer David Merrick had done little to promote it, saying "He never invested in advertising. He never came to the theatre." Despite its failure, the show has developed a cult following.
Résumé: Mack and Mabel deals with the complex relationship between Max Sennet, a temperamental, workaholic film director and Mabel Normand, a waitress who became one of his biggest stars. In a series of flashbacks, Sennett recalls the time he discovered Mabel back in 1911, her rise to stardom, their love affair, when she leaves him to work for the “serious” director W.D. Taylor and finally, her tragic death from a heroine overdose. In the end, Sennet creates his own happy ending plotting a scene in which he and Mabel marry.
Création: 6/10/1974 - Majestic Theatre (Broadway) - représ.
Musique: Jerry Herman • Paroles: Jerry Herman • Livret: Mark Bramble • Michael Stewart • Production originale: 2 versions mentionnées
Résumé: Based on S. N. Behrman's play Jacobowsky and the Colonel, the story concerns an unlikely pair. S.L. Jacobowsky, a Polish-Jewish intellectual, has purchased a car he cannot drive. Stjerbinsky, an aristocratic, anti-Semitic colonel, knows how to drive but has no car. When the two men meet at a Paris hotel, they agree to join forces in order to escape the approaching Nazis. Together with the Colonel’s girlfriend, Marianne, they experience many adventures while on the road, but trouble ensues when Jacobowsky falls in love with the young girl.
Création: 27/12/1978 - Palace Theatre (Broadway) - représ.
Musique: Jerry Herman • Paroles: Jerry Herman • Livret: Harvey Fierstein • Production originale: 14 versions mentionnées
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Based on the 1973 French play of the same name by Jean Poiret, it focuses on a gay couple: Georges, the manager of a Saint-Tropez nightclub featuring drag entertainment, and Albin, his romantic partner and star attraction, and the farcical adventures that ensue when Georges's son, Jean-Michel, brings home his fiancée's ultra-conservative parents to meet them. The original 1983 Broadway production received nine nominations for Tony Awards and won six, including Best Musical, Best Score and Best Book.
Genèse: Allan Carr, who had produced the successful film adaptation of Grease (1978), was eager to work in theatre and thought a musical version of the hit 1978 film La Cage aux Folles would be an ideal vehicle for his Broadway debut. However, he was unable to secure the rights to the film and was forced to settle for the rights to the original play only. Carr hired Jay Presson Allen to write the book and Maury Yeston to compose the score for The Queen of Basin Street, an Americanized version set in New Orleans. With Mike Nichols set to direct and Tommy Tune on board as choreographer, Carr searched for executive producers and found them in Fritz Holt and Barry Brown, who immediately fired the entire creative team that Carr had assembled. All of them eventually filed lawsuits, but Yeston alone won and later collected a small royalty from La Cage. Holt and Brown had produced the 1974 revival of Gypsy directed by Arthur Laurents, and they approached him with an offer to direct their new venture. Laurents was not a fan of drag or camp entertainment and thought Holt and Brown never would find enough investors to finance a gay-themed project at a time when, during the early years of the AIDS epidemic, homophobia was more intense than ever. He agreed only because Holt and Brown were close friends and he wanted them to remain on Carr's payroll as long as possible, but his interest grew when he learned Harvey Fierstein and Jerry Herman had committed to the project. According to Laurents, when he met with Fierstein and Herman for the first time, they had restored both the title and locale of the original play but had neither a script nor even an outline for the plot. All they had was the Herman song "I Am What I Am," and Laurents immediately envisioned it as an emotional outburst sung at the close of the first act. Laurents further claims that when he explained his concept to Fierstein and Herman, he inspired the direction they took in writing the musical. Herman tells a very different story in an interview included in the original cast CD. He claims that they were well into the collaboration when Fierstein arrived one day with an emotional fiery scene he had written for the end of Act I that included the words "I am what I am." Delighted, Herman asked to use the five words, boasting he would have a song by morning, which he did. With gay-activist Fierstein and the political Laurents on board, the show could have "become a polemic diatribe on gay rights." However, Herman was a moderating influence. Having suffered a series of disappointments with darker-themed shows since 1969, he was eager to score a hit with a mainstream, emotional, optimistic song-and-dance entertainment that middle-class audiences would enjoy. The team opted to create "a charming, colorful, great-looking musical comedy - an old-fashioned piece of entertainment," as Herman recalled in his memoir Showtune. By "delivering their sentiments in a sweetly entertaining manner", the team was able to convey their gay-themed message with more impact than they could have with a more aggressive approach. Fierstein, Herman and Laurents met daily in Herman's Manhattan townhouse to work on the musical. Because they were limited to using only the Poiret play as a source, they were unable to include the character of Jean-Michel's birth mother, who had been created for the film. They focused the plot on the fact that the relationship of Georges and Albin seems so natural that the boy is able to accept a man as his "mother". The three men agreed that Albin needed to be as glamorous an entertainer as possible, and Theoni V. Aldredge was hired as costume designer to achieve their goal. The producers agreed to a Boston tryout, and just prior to the second preview (the first was cancelled due to problems with the mechanized set), Herman had a panic attack prompted by his fear that the city probably was too conservative to embrace a gay-themed musical, albeit one designed for a mainstream audience. The Boston crowds gave the show an enthusiastic reception. Fierstein, Herman and Laurents were also concerned that this was essentially a love story in which the lovers barely touched each other. Fierstein suggested they kiss on the cheeks at the end, and Laurents, citing the common custom of French men kissing each other on both cheeks, agreed. George Hearn as Albin had the showier role and all the big musical numbers. His character was fully drawn, and behind the drag performer, the audience could see "a person driven to take a stand for himself – a notion that all people could relate to." In contrast, during rehearsals, everyone had supported firing Gene Barry, who was considered adequate but never outstanding as Georges, but finding a replacement proved to be difficult. Finally, just before opening night, Laurents directed him always to look into Hearn's eyes, whenever the two men were on stage, so the audience would sense the depth of the couple's feelings for each other. The director also had Georges introduce the various club acts with more of a flourish, "like an aria that will land like a musical number." Both of these last-minute stage directions enabled Barry to get a better grasp of his character. According to theatre historian John Kenrick, La Cage aux Folles helped make the 1983 Broadway season an especially strong one. He noted that following La Cage and Big River in 1985, for "the first time since Oklahoma, a full decade would go by before a new American musical would pass the 1,000-performance mark." Original Broadway production) La Cage aux Folles opened on Broadway at the Palace Theatre on August 21, 1983. It was directed by Arthur Laurents and choreographed by Scott Salmon, with set design by David Mitchell, costume design by Theoni V. Aldredge, and lighting design by Jules Fisher. The original Broadway cast included Gene Barry as Georges and George Hearn as Albin, with John Weiner as Jean-Michel, Walter Charles as M. Renaud, Jay Garner as Edouard Dindon, Merle Louise as Mme. Dindon, Elizabeth Parrish as Jacqueline, Leslie Stevens as Anne, and William Thomas, Jr. as Jacob. Among the replacement performers who appeared in La Cage aux Folles during its original Broadway run were Walter Charles, Keene Curtis, Van Johnson, Peter Marshall, Keith Michell and Lee Roy Reams. The original production received nine Tony Award nominations, winning a total of six including Best Musical, Best Original Score and Best Book of a Musical. The show beat several strong competitors in many categories, including Stephen Sondheim's Sunday in the Park with George. It also won three Drama Desk Awards. The production ran for four years and 1,761 performances, closing on November 15, 1987. After the great success of the production's opening night, Herman felt vindicated. He "had nothing else to prove" to his critics and "vowed never to write another show for Broadway". Original London production The show had its West End premiere at the London Palladium on May 7, 1986 with the same creative team as the Broadway production. Hearn transferred with the production, which was made possible through an agreement with the American and British actors' unions, allowing him to come over in exchange for Robert Lindsay appearing in Me and My Girl on Broadway. The production also starred Denis Quilley as Georges, Jonathon Morris as Jean-Michel, Richard Owens as M. Renaud, Brian Glover as Edouard Dindon, Julia Sutton as Mme. Dindon, Phyllida Law as Jacqueline, Wendy Roe as Anne, Donald Waugh as Jacob and Martin J Barker as Chantal. The show closed in London after 301 performances. Its short run and financial failure were partly blamed on the AIDS crisis, and producers were uncomfortable about portraying gay lives onstage quite so openly in mainstream musicals for some time afterwards. 2004 Broadway revival The first Broadway revival opened at the Marquis Theatre, beginning previews on November 11, 2004, with an official opening on December 9, 2004. The production team included Jerry Zaks as director, Jerry Mitchell as choreographer, Scott Pask, Donald Holder and William Ivey Long as designers. The cast included Gary Beach as Albin, Daniel Davis as Georges, Gavin Creel as Jean-Michel, Merwin Foard as M. Renaud, Michael Mulheren as Edouard Dindon, Linda Balgord as Mme. Dindon, Ruth Williamson as Jacqueline, Angela Gaylor as Anne, and Michael Benjamin Washington as Jacob. Robert Goulet replaced Davis as Georges on April 15, 2005 and played the role until the production closed. Reviews for the production were mixed, with The New York Times stating that it "often gives the impression of merely going through the motions, amiably but robotically, of its gag-laden, sentimental plot", yet praised Les Cagelles, who "bring acrobatic oomph and angularity to centerpieces that include an aviary of exotic, back-flipping birds and a vigorous Montmartre-style can-can. As long as the Cagelles are doing their thing, your attention stays thoroughly engaged". The revival won numerous Tony and Drama Desk awards. The production closed on June 26, 2005. Ticket sales for the show had not increased after winning the Tony Award, and the show had been consistently selling at less than 60% capacity in the months prior to closing. 2008 London revival A scaled-down London revival, starring Philip Quast and Douglas Hodge opened at the Menier Chocolate Factory on January 8, 2008, and played there until March 8, 2008. The cast also included Neil McDermott, Iain Mitchell and Una Stubbs, with direction by Terry Johnson and choreography by Lynne Page. The production had originally been scheduled to open in December 2007, but it was delayed twice due to illness within the cast. By the time the production officially opened, all remaining performances had sold out. The show opened to mostly positive press with particular praise for Hodge's performance as Albin. The Menier Chocolate Factory production transferred to the West End on October 20, 2008 at the Playhouse Theatre co-produced with Sonia Friedman Productions, Robert G. Bartner, David Ian Productions, The Ambassador Theatre Group and Jamie Hendry Productions. It was initially advertised as a "Strictly Limited 12 Week Season", although this became open-ended due to its success. Hodge reprised his role as Albin, joined by Denis Lawson as Georges. The cast also included Iain Mitchell as M Renaud/Edouard Dindon, Paula Wilcox as Mme. Ranaud/Mme. Dindon and Tracie Bennett as Jacqueline. The production gathered rave reviews, with high praise again for Hodge and Les Cagelles. Whatsonstage.com commented: "A great Broadway show has been re-born as a classic musical comedy with real punch and pizzazz." Michael Billington of The Guardian reported that the show had improved with its transfer to the West End from the Menier Chocolate Factory. The 2008 West End cast appeared as a guest act for the Royal Variety Performance 2008, staged at the London Palladium on December 11, 2008, in the presence of senior members of the Royal family The production won the Laurence Olivier Award for Best Musical Revival, and Hodge won for Best Actor, out of a total of seven nominations. The roles of Albin and Georges have been re-cast in London every three months with well-known actors to keep the production fresh and public interest high. Television personality Graham Norton took over the role of Albin on January 19, 2009, alongside Steven Pacey as Georges. They were succeeded on May 4, 2009, by theatre veterans Roger Allam as Albin and Philip Quast reprising his role of Georges from the Menier Chocolate Factory. From September 12, 2009, until November 28, 2009, John Barrowman and Simon Burke played the roles of Albin and Georges respectively. Douglas Hodge as Albin and Denis Lawson as Georges returned to the production from 30 November 2009, until the production closed on January 2, 2010. 2010 Broadway revival A transfer of the 2008 London revival to Broadway began previews at the Longacre Theatre on April 6, 2010, and officially opened on April 18, 2010. Johnson and Page direct and choreograph. Douglas Hodge reprises the role of Albin. Kelsey Grammer stars as Georges, in his debut in a Broadway musical (he has previously performed Shakespeare on Broadway). The set design is by Tim Shortall, costumes by Matthew Wright, lighting by Nick Richings, and scaled down eight-player orchestrations by Jason Carr. The production received positive reviews, many praising the scaled-down nature of the production and the performances of newcomers Douglas Hodge and Kelsey Grammer as Albin and Georges. Besides Grammer and Hodge, the cast features A.J Shively in his Broadway debut as Jean-Michel, Robin de Jesus as Jacob, Fred Applegate as M. Renaud/M. Dindon, Veanne Cox as Mme. Renaud/Mme. Dindon, Christine Andreas as Jacqueline and Elena Shaddow as Anne. The Cagelles include Nick Adams, Logan Keslar, Sean Patrick Doyle, Nicholas Cunningham, Terry Lavell and Yurel Echezarreta. The production received 11 Tony Award nominations and won Best Musical Revival, Best Actor in a Musical (Douglas Hodge) and Best Direction of a Musical. A cast recording of the revival was made by PS Classics and was released on September 28, 2010. The production closed on May 1, 2011, after 433 performances and 15 previews.
Résumé: A Saint-Tropez, Georges et Albin dirigent la boîte de nuit à la mode, "La Cage aux Folles", où Albin se produit en travesti sous le nom de Zaza. Tout irait pour le mieux dans leur couple si le fils de Georges (le fruit d'une ancienne liaison hétérosexuelle) ne leur annonçait son mariage prochain avec la fille d'un leader politique conservateur et... anti-gay. Albin, trop "flamboyant", devient soudain indésirable... Mais tout est bien qui finit bien dans cette comédie : le fils épouse sa dulcinée et le couple Georges-Albin sort renforcé de l'épreuve... non sans avoir joué un tour bien mérité au politicien !
Création: 9/8/1983 - Palace Theatre (Broadway) - représ.