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L'héroine (anonyme) d'origine anglaise débarque à New York, et connait une première déception quand elle apprend que l'homme qu'elle aime la trompe. Elle rencontre ensuite un producteur d'Hollywood, Sheldon Bloom, qui l'emmène en Californie, mais le style de vie à Los Angeles ne lui plait pas, et elle revient vite à New York. Elle sort ensuite avec un homme trop jeune pour elle, puis avec un homme marié, pour se retrouver toute seule à la fin.
Andrew Lloyd Webber décide d'écrire un one woman show pour une chanteuse peu connue, Marti Webb.
Avec le lyriciste Don Black, il crée "Tell Me On A Sunday" qui raconte les mésaventures amoureuses d'une anglaise à New York, et qui obtiendra également du succès.la musique est fabuleuse, mais ce n'est rien par rapport aux textes d'un Don Black en très grande forme. Lorsque c'est drôle, c'est très drôle et quand c'est triste, les larmes ne sont pas loin, Marti Webb apportant sa sensibilité et son talent à cette œuvre particulière.
La BBC va filmer une version de "Tell Me On A Sunday" avec Marti Webb qui recevra également un succès conséquent.
Aucun dossier informatif complémentaire concernant Tell me on A Sunday
Aucun dossier informatif complémentaire concernant Tell me on A Sunday
Version 2
Tell me on Sunday (1982-04-Palace Theatre-London) 1er acte de 'Song and Dance'
Type de série: OriginalThéâtre: Palace Theatre (Londres - Angleterre) Durée : 1 an 11 mois 4 semaines Nombre : 781 représentationsPremière Preview : 26 March 1982
Première: 07 April 1982
Dernière: 31 March 1984Mise en scène : Richard Jr Maltby • Chorégraphie : Producteur : Star(s) : Commentaires longs: The creative team decided to combine Tell Me on a Sunday with a ballet choreographed to Lloyd Webber's Variations, a classical piece based on the A Minor Caprice No. 24 by Paganini that had debuted at Sydmonton in 1977. Tell Me on a Sunday became Act I of Song and Dance, which was staged in the West End with Marti Webb as 'the girl'. She later was succeeded by Gemma Craven, Liz Robertson, and Sarah Brightman.
Version 3
Tell me on Sunday (1985-09-Royale Theatre-Broadway) 1er acte de 'Song and Dance'
Type de série: Original BroadwayThéâtre: Bernard B. Jacobs Theatre (Broadway - Etats-Unis) Durée : 1 an 1 mois 3 semaines Nombre : 17 previews - 474 représentationsPremière Preview : 04 September 1985
Première: 18 September 1985
Dernière: 08 November 1986Mise en scène : Richard Jr Maltby • Chorégraphie : Producteur : Star(s) : Commentaires longs: It opened on September 18, 1985 to mixed reviews. Writing in the New York Post, Clive Barnes thought it was "the best thing that Lloyd Webber has written for the theater," but Frank Rich of the New York Times was not impressed, observing "Empty material remains empty, no matter how talented those who perform it. Emma is a completely synthetic, not to mention insulting, creation whom no performer could redeem." [5] Peters went on to win the Tony Award for Best Performance by a Leading Actress in a Musical, but the show failed to win Best Musical or Best Original Score. Black, unimpressed that Peters had insisted on gathering background information about the character, later said he preferred the original London production and Webb's performance.
Version 4
Tell me on Sunday (2003-04-Gielgud Theatre-London)
Type de série: RevivalThéâtre: Gielgud Theatre (Londres - Angleterre) Durée : 10 mois Nombre : Première Preview : 04 April 2003
Première: 15 April 2003
Dernière: 14 February 2004Mise en scène : Matthew Warchus • Chorégraphie : Aucun • Producteur : Star(s) : Avec: Denise van OutenCommentaires : Originally part of the “Song and Dance” double-bill staged at the Palace Theatre over 20 years ago, this had now been expanded into a stand-alone piece. It had been substantially updated (to include the internet, e-mails and mobile phones) and re-written, with the unnamed girl writing home to Mum in Ilford (originally it was Muswell Hill - in 1982 Marti Webb was far more Jewish than Essex girl Denise van Outen). The show was still presented as a one-act song-cycle, now running for 90 minutes. There was much praise for Denise van Outen, and although the material itself received a mixed reaction, the show ran ten months. The BBC critic observed, "This may be the smallest show Lloyd Webber's ever written, but the score (to appropriately conversational lyrics by Don Black) contains several of his very best songs."
During the run Marti Webb returned to her old part and, following the West End run, subsequently toured the UK with the show, alternating with Faye Tozer and Patsy Palmer.Presse : MICHAEL BILLINGTON for THE GUARDIAN says, "Although it has some good songs, it seems a slight piece that is scarcely rendered more plausible by the presence of the sassy, sexy Denise Van Outen."
RHODA KOENIG for THE INDEPENDENT says, "Lloyd Webber's music is laughably trite. Van Outen seems a nice girl, but her singing and acting are very average."
BENEDICT NIGHTINGALE for THE TIMES says, " She’s [Van Outen] at her best when Don Black’s often adroit, witty lyrics allow her to be sharp, funny and derisive about men."
CHARLES SPENCER for THE DAILY TELEGRAPH says, "It's trite, it's sentimental, it is profoundly second-rate."
NICK CURTIS for THE EVENING STANDARD says, "It feels old. Without Van Outen, I suspect it would feel even older."
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