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Musique: Bono • The Edge • Paroles: Bono • The Edge • Livret: Glen Berger • Julie Taymor • Production originale: 1 version mentionnée
Dispo: Résumé Synopsis Génèse Isnpiration Liste chansons
This Broadway production was notorious for its many troubles. Several actors were injured performing stunts and the opening night was repeatedly pushed back to give the creative team more time to work, causing some critics to review the 'unfinished' production in protest. Following negative reviews, Spider-Man: Turn Off the Dark suspended performances for a month to retool the show. Long-time Spider-Man comics writer Roberto Aguirre-Sacasa was brought in to revise the story and book. Director Julie Taymor, whose vision had driven the concept of the musical, was replaced by creative consultant Philip William McKinley. By the time Spider-Man: Turn Off the Dark officially opened on June 14, 2011,it had set the record for the longest preview period in Broadway history – 182 performances.
Genèse: Although often described as a rock musical, the production "treads new ground" that some commentators have asserted "have effectively distanced it from its peers—and caused some confusion when it comes time to describe the show." The Edge stated that he is unsure of what description to use for the production, because "It is elements of rock and roll, it's elements of circus, it's elements of opera, [and] of musical theater." Bono, admitting that his description is a little "pretentious," has referred to it as "pop-up, pop-art opera," noting that Julie Taymor is calling it a "rock-and-roll circus drama." Bono has also described the production as "wrestling with the same stuff" as "Rilke, Blake, Wings of Desire, Roy Lichtenstein, [and] the Ramones." A 60 Minutes CBS special stated that it is being called a "comic book rock opera circus," although in that segment Bono noted that even using "rock" to describe the music is too narrow a description, because "We've moved out of the rock and roll idiom in places into some very new territory for us ... [including] big show tunes and dance songs." The production was described early on as "the most technically complex show ever on Broadway, with 27 aerial sequences of characters flying" and engaging in aerial combat. The production also includes a "multitude of moving set pieces that put the audience in the middle of the action," and enough projections onto giant screens that Bono has said that it is like a three-dimensional graphic novel. The original story treated the origins of Spider-Man similarly to the story in the 2002 film, but wove in an involved story about a villain based on the mythological Arachne. A "geek chorus" of four teenagers narrated the story. In the rewritten version, the plot hews closer to the comic book and film and trims and transforms the role of Arachne into a "kindred spirit in Spider-Man's dreams". Broadway production Spider-Man: Turn Off the Dark had no out-of-town tryouts because of the technical requirements of the production, which were designed for the Foxwoods Theatre on Broadway. The musical began previews at that theatre on November 28, 2010. After many delays, the official opening gala night took place on June 14, 2011. The creative team originally included director Taymor and choreographer Daniel Ezralow, with scenic design by George Tsypin, costume design by Eiko Ishioka and lighting design by Donald Holder. An "expanded creative team", announced on March 9, 2011, includes Philip William McKinley, joining the production as "consultant" (when Taymor left the production). It also includes the addition of Chase Brock for additional choreography and Roberto Aguirre-Sacasa for additional writing. Taymor retained her original credits in Spider-Man. The opening night cast featured Reeve Carney as Peter Parker/Spider-Man, Jennifer Damiano as Mary Jane Watson, Patrick Page as Norman Osborn/Green Goblin, T. V. Carpio as Arachne, Michael Mulheren as J. Jonah Jameson, Ken Marks as Uncle Ben, Isabel Keating as Aunt May, Jeb Brown as Mary Jane's Father, Matt Caplan as school bully Flash Thompson, and Laura Beth Wells as Osborn's wife Emily. Due to the physical demands of the role, Carney performs in six of the eight performances each week. The original alternate was British actor Matthew James Thomas, who left the show in November 2012 to star in Pippin. On November 19, 2013, producers announced that the show would close on January 4, 2014, citing falling ticket sales and no longer being able to get injury insurance for the production as reasons for closure. Having run on Broadway for over three years, the production failed to make back its $75 million cost, the largest in Broadway history, with investors reportedly losing $60 million. Las Vegas, National Tour and future productions When announcing the show's closure on Broadway, it was announced the show would transfer to Las Vegas. The show's producer Michael Cohl said of the transfer, "We'll work on improving everything, It could be anything. It's a blank piece of paper. In 2012, the musical's producers confirmed that they were scouting theatres in Europe, after The New York Post reported that they were considering productions in arenas in London and Hamburg. On July 25, 2014, Cohl announced that the musical will set out on an arena tour in place of the previous announced production in Las Vegas and would be launched in late 2015 or winter of 2016. As of November 2018, the tour has not begun.
Résumé: Spider-Man, Turn Off the Dark loosely follows the storyline of the comic book series and the 2002 film adaptation of Spider-Man, while adding its own twist on the popular tale. When nerdy teenager Peter Parker is bitten by a genetically altered spider, he discovers he has obtained super strength, web-spinning abilities and other spider-like powers. Parker soon finds himself battling scientist-turned-villain Norman Osborn, who adopts the alter-ego of the Green Goblin. As Parker’s troubles begin to pile up, he looks toward Arachne, a mythical spider goddess, for inspiration.
Création: 14/6/2011 - Lyric Theatre (Broadway) - représ.
A Midsummer Night's Dream (2013-10-Polonsky Shakespeare Center-NY)Type de série: Revival
Théâtre: Polonsky Shakespeare Center (New-York - Etats-Unis) Durée : 2 mois 3 semaines Nombre : Première Preview : Saturday 19 October 2013Première : Saturday 19 October 2013Dernière : Sunday 12 January 2014Mise en scène : Julie Taymor • Chorégraphie : Sally Brooks • Producteur : Avec : Zach Appelman*, Brendan Averett*, Olivia Bak, Marcus Bellamy*, Tina Benko*, Ciaran Bowling, Jarrett Austin Brown, Max Casella*, Roger Clark*, Jon Viktor Corpuz, Christina Dimanche, Lilly Englert*, Jake L. Faragalli, Jaryd Farcon, Joe Grifasi*, David Harewood*, Jake Horowitz*, Kathryn Hunter*, Zachary Infante*, Reimi Kaneko, Robert Langdon Lloyd*, Sophia Lillis, Johnny Marx, Mandi Masden*, Jacob Ming-Trent*, Okwui Okpokwasili*, Isaiah Register, Briana Robinson, Willa Scolari, Sophie Shapiro, Alex Shimizu, Emmet Smith, Madison Smith, Azalea Twining, Cassidy vanVonno, William Youmans*Presse : “FIVE STARS. Visionary director Julie Taymor is a thrilling painter of theater…she sprinkles each scene with creative fairy dust. You’d be hard pressed to find [a production] that rivals Taymor’s for beauty.” – Adam Feldman, Time Out New York
“A deliriously beautiful, deeply magical staging that’s as human as it is wildly inventive.” – Linda Winer, Newsday
Lion King (The) (1999-09-Lyceum Theatre-London)Type de série: Original London
Théâtre: Lyceum Theatre (Londres - Angleterre)
Durée : 20 ans 7 mois 2 semaines Se joue actuellementNombre : Première Preview : Friday 24 September 1999Première : Tuesday 19 October 1999Dernière : Open end, ouvert actuellement jusqu'au Sat 30 May 2020Mise en scène : Julie Taymor • Chorégraphie : Garth Fagan • Producteur : Avec : Josette Bushell-Mingo (Rafifki), Cornell John (Mufasa), Dawn Michael (Sarabi), Daniel Anthony/Ross Coates (Young Simba), Roger Wright (Simba), Rob Edwards (Scar), Simon Gregor (Timon), Martyn Ellis (Pumbaa), Stephanie Charles, Paul J. Medford, Christopher Holt, Paulette Ivory.Commentaires : Adapted from the Disney film in a brilliant production using masks, puppetry, ballet, music, colour and African rhythms, this musical opened on Broadway in November 1997, and is still running. Having cost some $15 million dollars to stage, the scenery, costumes, puppets, lighting and entire production were hugely praised and it was acclaimed as one of the West End’s greatest ever pieces of theatrical staging.Presse : Sarah Hemmings of THE FINANCIAL TIMES says, "As blockbuster musicals go, this is one with beauty and brains."
CHARLES SPENCER of THE DAILY TELEGRAPH" says, "For once a mega musical lives up to the hype. This is a dazzling show with the heart of a lion."
NICHOLAS DE JONGH of THE EVENING STANDARD says, "A beautiful dazzle of invention and imagination."
BENEDICT NIGHTINGALE of THE TIMES says, "Wonder of African jungle is show worth catching."
PETER HEPPLE of THE STAGE says, "This stage version of the Disney animated film is a spectacular delight."
Lion King (The) (2001-12-Theater im Hamburger Hafen-Hambourg)Type de série: Revival
Théâtre: Theater im Hamburger Hafen (Hambourg - Allemagne) Durée : 18 ans 11 mois 2 semaines Nombre : Première Preview : Sunday 02 December 2001Première : Sunday 02 December 2001Dernière : Open end, ouvert actuellement jusqu'au Sun 08 November 2020Mise en scène : Julie Taymor • Chorégraphie : Producteur :
Lion King (The) (2006-06-Broadway Run-Minskoff Theatre)Type de série: Original
Théâtre: Minskoff Theatre (Broadway - Etats-Unis)Durée : Nombre : Première Preview : Tuesday 13 June 2006Première : Tuesday 13 June 2006Dernière : Monday 31 December 2029Mise en scène : Julie Taymor • Chorégraphie : Garth Fagan • Producteur : Commentaires : BROADWAY'S HIGHEST GROSSING SHOW EVER
Disney's Broadway-busting musical brings the African Serengeti to glorious life on stage, bursting with joyous, captivating music and intricate animal puppetry. Adapted from the classic animated movie, this show follows the plucky cub Simba on the adventure of a lifetime as he grows up and accepts his destiny as the King of the Pride Lands in the face of tragedy. The movies' songs penned by Sir Elton John and Tim Rice ('Circle of Life', 'Hakuna Matata') are supplemented with original numbers especially created for the show.
WELCOME TO THE LION KING!
Since opening on Broadway in 1997, The Lion King has smashed records left and right, and today stands as the highest grossing show or film in box office history. To date, it's played over 7500 performances on Broadway and has mounted numerous productions worldwide. The success is well deserved as the musical is a visually stunning affair, creating a realistic and thrilling landscape, with the actors fully immersing themselves in their animal roles.
Whether you want to see the spectacle for yourself for the first time, or are a returning visitor, you can be sure that this is a musical that the whole family can enjoy!
DID YOU KNOW?
If you combine all of the productions of the show world wide together, The Lion King has been running for 90 years!Presse : "Seen purely as a visual tapestry, there is simply nothing else like it. Suddenly, you're 4 years old again, and you've been taken to the circus for the first time. You can only marvel at the exotic procession of animals before you: the giraffes and the elephants and the hippopotamuses and all those birds in balletic flight. Such is the transporting magic wrought by the opening 10 minutes of The Lion King, [director Julie] Taymor has introduced a whole new vocabulary of images to the Broadway blockbuster." Ben Brantley for New York Times
"Julie Taymor's staging of Disney's The Lion King is a marvel, a theatrical achievement unrivaled in its beauty, brains and ingenuity. Leaping far beyond its celluloid inspiration, the stage version improves upon nearly every aspect of the hit 1994 animated film, from visual artistry and storytelling to Lebo M's score and the newly African-ized pop songs of Elton John and Tim Rice." Greg Evans for Variety
"A jaw-dropping magnificent spectacle. The show and the playhouse are enchanting. The unprecedented production is worth every penny. If this is Disney's idea of a theme park, we are delighted to report that the theme is quality." Linda Winer for Newsday
"Awe-inspiring! Broadway theater is alive again. [Julie] Taymor's imaginative ideas seem limitless. it's a gorgeous, gasp-inducing spectacle. Most important - against all odds - it has innocence. The show appeals to our primal, childlike excitement in the power of theater to make us see things afresh." Richard Zoglin for Time Magazine
"The breathtakingly staged Broadway adaptation of Disney's king of the cartoon jungle is an instant theater classic." Chris Willman for Entertainment Weekly
Lion King (The) (2007-10-Théâtre Mogador-Paris)Type de série: Revival
Théâtre: Théâtre Mogador (Paris - France) Durée : 2 ans 9 mois 3 semaines Nombre : Première Preview : Thursday 04 October 2007Première : Thursday 04 October 2007Dernière : Sunday 25 July 2010Mise en scène : Julie Taymor • Chorégraphie : Garth Fagan • Producteur : Avec : Zama Magudulela (Rafiki), Jean-Luc Guizone (Mufasa), Olivier Breitman (Scar), Jérémy Fontanet (Simba), Léah Vincent (Nala), David Eguren (Zazu), Christian Abart (Timon) puis Hervé Lewandowski, Arnaud Léonard (Pumbaa), Céline Languedoc (Shenzi), Thibault Durand (Banzaï), Romain Apelbaum (Ed), Mélina M'poy (Sarabi), Steeve BrudeyCommentaires : 3 Molières en 2008
Lion King (The) (2016-10-Circustheater-Scheveningen)Type de série: Revival
Théâtre: Afas Circustheater (Scheveningen - Pays-Bas) Durée : 1 an 3 mois Se joue actuellementNombre : Première Preview : Friday 21 October 2016Première : Sunday 30 October 2016Dernière : Open end, ouvert actuellement jusqu'au Sun 28 January 2018Mise en scène : Julie Taymor • Chorégraphie : Garth Fagan • Producteur : Avec : Gugwana Dlamini (Rafiki), Jorrit Ruijs (Scar), David Goncalves (Mufasa), Gaia Aikman (Nala), Naidjim Severina (Simba), Barry Beijer (Zazu), Steve Beirnaert (Timon), Kobe van Herwegen (Pumbaa), Juliann Ubbergen (Banzai), Naomi Webster (Shenzi), Maarten Smeele (Ed), (Jochem Feste Roozemond (Walk in cover Scar / Pumba), Tim Driesen (Walk in cover Timon / Zazu / Pumba),
Charmaine Yard (Sarabi / Ensemble / understudy Shenzi),
Robin van den Akker (Swing / understudy Scar / understudy Mufasa),
Fernanda Santana (Ensemble), Annefleur van den Berg (Ensemble / understudy Nala / understudy Shenzi), Nigel Brown (Swing / understudy Simba), Esmee Cornet (Swing), Pearl Delchot (Ensemble), Guilherme Duarte (Swing), Kevin Fullinck (Swing), Nombuso Gcabashe, Marlon Henry (Ensemble / understudy Banzai / understudy Ed) , Channah Hewitt (Swing / understudy Nala), Mark Hindle, Isabel Hoiting, Boudewijn Joannes (Ensemble / understudy Banzai), Marnix Lenselink, Harold Luya, Mvakalisi Madotyeni, Baddy Mohapi, Gabisile Manana (Ensemble / understudy Rafiki), Benton Morris (Swing), Sakhile Mthembu, Anna Ella Neocel Dutreich (Swing / dance captain), Lindile Ngcobo, Kimberly Nieuwenhuis (Swing), Aya Zoe Pattisina, Gitty Pregersc (Swing / understudy Rafiki), Joella Ramos, Rosalina Renfurm (Ensemble / understudy Shenzi), Jaime Rodney (Swing), Sacha Setubun, Pamela Sidhu, Sherry Tay (Swing), Ruben Thurnim (Ensemble / understudy Mufasa), Gilberdan Verissimo, Jonathan Vroege (Ensemble / understudy Simba), Joëley (Kleine Nala), Esther (Kleine Nala), Chaska (Kleine Nala), Emmie (Kleine Nala), Joël (Kleine Simba), Kiki (Kleine Nala), Panthero (Kleine Simba), Raphael (Kleine Simba), Tevin (Kleine Simba), Tommie (Kleine Simba), Jayleno (Kleine Simba), Shamainey (Kleine Nala)
M. Butterfly (2017-10-Cort Theatre-Broadway)Type de série: Revival
Théâtre: Cort Theatre (Broadway - Etats-Unis) Durée : 1 mois 3 semaines Nombre : 19 previews - 61 représentationsPremière Preview : Saturday 07 October 2017Première : Thursday 26 October 2017Dernière : Sunday 17 December 2017Mise en scène : Julie Taymor • Chorégraphie : Ma Cong • Producteur : Avec : Clive Owen (as Rene Gallimard), Jin Ha (as Song Liling), with Clea Alsip, Murray Bartlett, Michael Countryman, Celeste Den, Jess Fry, Enid Graham, Thomas Michael Hammond, Cole Horibe, Jason Ignacio, Kristen Faith Oei, Erica Sweany, John Leonard Thompson, and Erica Wong
Spider-Man: Turn Off The Dark (2011-06-Lyric Theatre-Broadway)Type de série: Original
Théâtre: Lyric Theatre (Broadway - Etats-Unis)
Durée : 2 ans 6 mois 3 semaines Nombre : 182 previews - 10066 représentationsPremière Preview : Sunday 28 November 2010Première : Tuesday 14 June 2011Dernière : Saturday 04 January 2014Mise en scène : Julie Taymor • Chorégraphie : Producteur : Commentaires : Spider-Man: Turn Off the Dark had no out-of-town tryouts because of the technical requirements of the production, which were designed for the Foxwoods Theatre on Broadway. The musical began previews at that theatre on November 28, 2010. After many delays, the official opening gala night took place on June 14, 2011.
The creative team originally included director Taymor and choreographer Daniel Ezralow, with scenic design by George Tsypin, costume design by Eiko Ishioka and lighting design by Donald Holder. An "expanded creative team", announced on March 9, 2011, includes Philip William McKinley, joining the production as "consultant" (when Taymor left the production). It also includes the addition of Chase Brock for additional choreography and Roberto Aguirre-Sacasa for additional writing. Taymor retained her original credits in Spider-Man.
The opening night cast featured Reeve Carney as Peter Parker/Spider-Man, Jennifer Damiano as Mary Jane Watson, Patrick Page as Norman Osborn/Green Goblin, T. V. Carpio as Arachne, Michael Mulheren as J. Jonah Jameson, Ken Marks as Uncle Ben, Isabel Keating as Aunt May, Jeb Brown as Mary Jane's Father, Matt Caplan as school bully Flash Thompson, and Laura Beth Wells as Osborn's wife Emily. Due to the physical demands of the role, Carney performs in six of the eight performances each week. The original alternate was British actor Matthew James Thomas, who left the show in November 2012 to star in Pippin.
On November 19, 2013, producers announced that the show would close on January 4, 2014, citing falling ticket sales and no longer being able to get injury insurance for the production as reasons for closure. Having run on Broadway for over three years, the production failed to make back its $75 million cost, the largest in Broadway history, with investors reportedly losing $60 million.Presse : The show's first performance, on November 28, 2010, "garnered what was most likely the most press coverage of a first preview in history."
Reactions to the first preview described the musical as "visually stunning," despite technical glitches that resulted in several stops and starts during the performance. By January 18, 2011, a reviewer reported that there were no delays during the preview he saw. He praised the stunts and ballads "that evoke the yearning grandeur of U2 – though their more upbeat material tended to be nondescript" but felt that the "plot of the second act twisted into tangled knots." Radio and TV talkshow host Glenn Beck championed the production after attending the preview showings several times.
Most of the major theater critics published their reviews of the first version on February 7, 2011; nearly all of them were strongly negative in tone. Although reviews during the preview period are unusual, the critics decided that the ever-expanding preview period was so long, and ticket prices were so high, that they should not wait for the official opening. An analysis in The New York Review of Books by classics scholar Daniel Mendelsohn followed up the complaints of other critics that Taymor's attempt to graft the classical myth of Arachne onto the comic book story turned the show into "a grotesque hybrid" and overloaded the plot with two unrelated main villains in Arachne and Green Goblin. Mendelsohn saw "a crucial difference between the ancient and modern models of human-to-animal metamorphosis. For today's audiences, such transformations are liberating — literally "empowering" – whereas for the ancients, they were, more often than not, humiliations, punishments for inappropriate or overweening behavior. ... At the heart of the Spider-Man disaster is the essential incompatibility of those two visions of physical transformation – the ancient and the modern, the redemptive and the punitive, visions that Taymor tried, heroically but futilely, to reconcile."
In a scathing review of the first version, The New York Times critic Ben Brantley had said that Spider-Man may "rank among the worst" Broadway musicals. In his review of the revised version, Brantley wrote, "So is this ascent from jaw-dropping badness to mere mediocrity a step upward? Well, until last weekend ... I would have recommended Spider-Man only to carrion-feasting theater vultures. Now, if I knew a less-than-precocious child of 10 or so, and had several hundred dollars to throw away, I would consider taking him or her to the new and improved Spider-Man."
In the show's first incarnation, the average rating from critics was "F+", while the revision garnered an average score of "C+". In a roundup of the reviews, Linda Buchwald commented, "critics actually miss some of Julie Taymor's ambition, crazy as they may have thought it at the time. Critics agree that the show is improved in that it makes much more sense, however, now they mostly find it a bore. Bono and the Edge's score is almost universally panned while Patrick Page's Green Goblin and stunning visuals remain for most critics the best reasons to see the show."
Theatre review aggregator Curtain Critic gave the production a score of 50 out of 100 based on the opinions of 20 critics.