Le monde des musicals

Version 1

Murderous instincts (2004-10-Savoy Theatre-London)

Type de série: Original
Théâtre: Savoy Theatre (Londres - Angleterre)
Flop
Durée : 1 semaine
Nombre :
Première Preview : Monday 27 September 2004
Première : Thursday 07 October 2004
Dernière : Saturday 16 October 2004
Mise en scène :
Chorégraphie : Jhesus Aponte •
Producteur :
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)
Commentaires : 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.
Commentaires longs: Essai
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."