Londres
Drury Lane Theatre
Londres - Angleterre
Construction: 1663
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Topologie du théâtre
Nombre de salles actives: 1
Salle 1: (2188) 1663 - Actif
Accès
En métro: Covent Garden or Holborn
En bus: 1, 4, 6, 9, 11, 13, 15, 23, 26, 68, 76, 77A, 168, 171, 171A, 176
Adresse:
Evolution
Bâtiment: 1636. Site of Monsieur Le Fevre’s riding academy - 1663. First theatre built, for Thomas Killigrew and the King’s Company - 1674. Second theatre designed by Sir Christopher Wren for Thomas Killigrew - 1775. Third theatre designed by Robert Adam for David Garrick - 1790. Fourth theatre designed by Henry Holland to replace Robert Adam’s following demolition - 1809. Fifth theatre built to designs of Benjamin Dean Wyatt after Holland’s theatre burns down - 1922. Auditorium rebuilt by J. Emblln Walker, Edward Jones and Robert Cromie.
Nom:
Propriétaire(s)
Really Usefull Group
Remarquable
Extant fabric of Wyatt’s rebuilding, including the entrance vestibule, rotunda, grand staircase and grand saloon - Samuel Beazley’s cast-iron colonnade to Russell Street - Sculptures exhibited within the rotunda and vestibule - Memorial drinking fountain on Catherine Street elevation
2188
1663 - Actif
The Theatre Royal Is situated on the cusp between fashionable Covent Garden to the west and the less attractive office and flat developments to the north and east. The main front opens not on to Drury Lane, as the name suggests, but on to Catherine Street, originally Brydges Street (1630s), but renamed after Catherine of Braganza. It overlooks a jolly run of 18th- and 19th-century domestic- scale buildings - now almost all restaurants - along with the Nell of Old Drury pub and the very fine Opera Tavern of 1879. To the north in Russell Street is Drury House, a typical late 20th-century office development, and across Crown Court is the Fortune Theatre, overshadowed by the sheer bulk and presence of Its illustrious neighbour. Adjacent to the Theatre Royal at No. 6 Catherine Street is the Federation of Bakers, a five-storey red-brick and stone building of 1905, bearing the signs of its Arts and Crafts architect, C. F. A. Voysey.
Entertainment has taken place In Drury Lane since at least 1636, when Monsieur Le Fevre, whose riding academy occupied the site of the present theatre, was authorized by the Lord Chamberlain, on behalf of Charles I, to convert his buildings for the use of a group of French' actors. The Survey of London (Volume 35) records that 25 years later, In 1661, shareholders leased the site from the Earl of Bedford for the building of the Theatre Royal. In 1662 letters patent were conferred by Charles II on two actor-managers: Thomas Killigrew and his King’s Company, and Sir William D’Avenant and the Duke’s Company. These royal patents, licensing the recipients to set up theatre companies, in effect presented them with a theatrical monopoly. The Duke's Company was based at Lisle’s Tennis Court, Lincoln's Inn; Killigrew built his own theatre in 1663 on the site of Le Fevre’s riding academy, a building some 100 feet long by 50 feet wide, literally in the middle of the present theatre and approached by passageways from Brydges Street and Drury Lane. Forced to close down for the duration of the Great Plague (1664-5), the theatre reopened thereafter but was burnt down in 1672. For the reconstruction Killigrew engaged Sir Christopher Wren, who designed an intimate building that contributed much to the evolution of provincial theatres.
In the early 1740s a young actor named David Garrick was drawing huge crowds to Goodman’s Fields, Whitechapel (where a theatre had been built in 1729, demolished and rebuilt in 1746) - to such an extent that the Theatre Royal was losing large numbers of regular patrons through a transfer of allegiance. Thus, of necessity, in May 1742 Garrick was engaged to appear at Drury Lane, where he dominated the stage for over three decades. In 1744 Garrick established his position with a brilliant performance as Macbeth, and in 1747 he entered into partnership with theatre manager James Lacy, obtaining a new patent from the Lord Chamberlain. He died in 1779, having retired from Drury Lane just three years earlier.
Until 1775 the Theatre Royal followed the pattern established at the Parisian Comédie Française, allowing the audience to occupy the sides of the stage. Intending to dispense with this inconvenience, Garrick commissioned the Scottish architect Robert Adam to redesign the theatre; in doing so, he cleverly introduced three tiers of boxes within the height of Wren’s two. However, in 1790 the theatre was declared unsafe, and was demolished to make way for a new building designed by Henry Holland (who in 1789 had recased Althorp, the country home of the Spencer family, in grey mathematical tiles). Holland's other works include Spencer House in Piccadilly (1785-92); Cardiff Castle, which he reconstructed in the Gothic manner (1778); and the first Brighton Pavilion for the Prince Regent (1787).
On 24 February 1809 Holland's theatre was burnt down, and the competition to design the replacement building was won by Benjamin Dean Wyatt - at the time an inexperienced architect, though in 1813 he was to become Surveyor to Westminster Abbey, and after the end of the Napoleonic Wars would design a palace (never built) for the victorious Duke of Wellington. His design for Drury Lane, with its four circles of open boxes and two galleries, could accommodate an audience of some 3,200, thus providing for a profitable operation; an eye on the economics of the project no doubt contributed to his success. The portico was added in 1820 to provide a grand façade to Catherine Street. The cast-iron colonnade to Russell Street, with its coupled, fluted Ionic columns and suspended lamp brackets, was added in 1831 by Samuel Beazley, who had rebuilt the Lyceum Theatre In 1816. The remainder of the 19th century saw only minor further amendments.
Although the auditorium was rebuilt in 1922 by J. Emblin Walker, Edward Jones and Robert Cromie, the interior is unique among London theatres in its retention of considerable elements of Wyatt’s early 19th-century work. The beautifully proportioned Greek Doric vestibule gives access by three doors on to the central rotunda and flanking grand staircases to left and right. A statue of Shakespeare by John Cheere, brother of the more famous Sir Henry Cheere, is housed in the vestibule, while a second, along with statues of Michael Balfe (possibty by John Jones, 1846), David Garrick (sculptor unknown) and Edmund Kean (by John Edward Carew, 1833), is housed in the ground storey of the rotunda. Little is known of the original colour scheme. Today the cream-painted rotunda soars upwards to its dome of pale ochre with green coffering, broken only by an elegant cantilevered stone gallery. On the gallery are busts of actor Ira Aldridge; Sir Johnson Forbes (better known as actor Forbes Robertson); Ivor Novello; and Samuel Whitbread by Joseph Nollekens, a sculptor of genius. Above the entrance is a lofty saloon decorated with paired Corinthian columns and pilasters; at either end is an apse, beyond one of which Wyatt placed a coffee room. In theatrical terms, the survival of Wyatt's work is without doubt of international significance.
The Empire style of the auditorium, decorated in pale blue-grey with Wedgwood blue and gold highlighting, accords well with Wyatt's surviving fabric. Three tiers of boxes are arranged in three bays either side of the rectangular proscenium with its imitation lapis lazuli frame. The sub-stage mechanics are very special, with a superb set of Asphaella’ machinery for raising and lowering sets and scenery, comprising four electric and two hydraulic bridges. The electric bridges, installed in 1898, can be raised to a height of seven feet or dropped a similar distance below stage level. The hydraulic bridges of 1896 can be tilted and will rise 12 feet above or drop eight feet below the stage. In 1908, 112 sets of counterweights were installed to replace the old pulley-based system of hemp line working.
On the Catherine Street elevation is a memorial drinking fountain of 1897, with a bust of impr'esario Sir Augustus Harris by Sir Thomas Brock, set In a round arched niche. The fountain was provided by public subscription through the Metropolitan Drinking Fountain and Cattle Trough Association.
Since Garrick's Macbeth of 1744 the Theatre Royal has hosted an astonishing array of productions, ranging from Shakespeare to pantomime and musicals. The Merchant of Venice was staged here In 1814, followed by Macbeth in 1835; nearly a century later Ivor Novello starred in Henry V (1930). Pantomimes include Jack and the Beanstalk (1899), Cinderella (1905) and Aladdin (1909); and the musicals Show Boat, starring Paul Robeson (1928), The Dancing Years (1939), South Pacific (1951) and Camelot (1964) each marked a theatrical milestone.
1636. Site of Monsieur Le Fevre’s riding academy - 1663. First theatre built, for Thomas Killigrew and the King’s Company - 1674. Second theatre designed by Sir Christopher Wren for Thomas Killigrew - 1775. Third theatre designed by Robert Adam for David Garrick - 1790. Fourth theatre designed by Henry Holland to replace Robert Adam’s following demolition - 1809. Fifth theatre built to designs of Benjamin Dean Wyatt after Holland’s theatre burns down - 1922. Auditorium rebuilt by J. Emblln Walker, Edward Jones and Robert Cromie.
Infos complémentaires:
The Stalls are divided into a front and back section, which is each divided into three by two centre aisles running the whole length of the auditorium. The rows only have a slight curve with the shape of the stage, meaning some seats at the extreme ends of the rows are classed as restricted view for certain performances. Due to the size of the orchestra pit seats in the front three or four rows may be restricted by a conductor, although Seat Plan often finds this to be an exciting addition to the performance. Leg room in the front section is very good and views of the architecture and Royal Box gives the front section a distinct edge.
The circle overhang begins around row L in the stalls, and so only begins to affect those in the back section of the stalls around row U, something that is reflected in the price. The further back you go, the more the top of the stage gets lost, which in some cases may lead to parts of the sets and special effects being missed. The best seats in this section are certainly towards the back of the first section, due to the outstanding sight lines and room above, meaning you are able to absorb all this theatre has to offer.
The Grand Circle provides excellent views of the stage that remain unobstructed throughout. Although the overhang of the Upper Circle begins almost immediately, the height of the theatre means that this only affects the view in the final few rows in this section. No safety bars or rails run along the front, so patrons in the front of the section remain happy to enjoy the action unhindered.
The section is divided into three by two aisles, giving good access to all seats. The rake in this section is gentle, but enough to allow a clear view for children, unlike the Balcony where the rake is severe.
The Upper Circle is slightly larger than the Royal Circle and feels significantly higher. The rake becomes more severe to improve sight lines, but can provide difficulties for older audience members. The section is again divided into three and is wider than it is deep. Due to the slight curve of the section seats at the end of rows can be restricted due to the angle, especially those in the first four rows. Safety bars feature at the bottom of each aisle on either side, meaning those seats directly behind are counted as restricted view, but are suitable for those who want a good deal. The Balcony overhang begins to affect those sitting in row E backwards, and the back half of the section does miss the top of the stage.
Because of the size of the theatre the back of the Upper Circle can feel very detached from the action, and use of the Opera Glasses provided in the seat pouches are necessary to see the detail on the actors faces. The overall view of the stage and set is very effective as is the sound quality despite the distance.
The Balcony does provide excellent value for money, and for larger scale shows can be one of the best places to sit. The section is very heavily raked meaning it is easy to see all the action on stage, although you can at times feel very distant. As there is no overhang, sight lines are excellent and the mid-level section has no obstructions. The Balcony may be unsuitable for those who are scared of heights or have limited mobility due to the steep staircases and climb to the top of the theatre. The safety bar runs the length of the balcony restricting the view for those on the first two rows. Unlike other theatres the rail is not too high and affects some audience members more than others. The section is divided into three, giving those who want extra legroom more options, although for the best overall view aim for those seats nearest the centre aisles.
One of the unique features of this theatre is the amount of boxes that exist across all levels. For those wishing to experience a touch of class the boxes are a divided section away from the main seating levels on either side of the stage. The view from each box differs depending on how close they are to the stage, so Seat Plan would advise the mid-level boxes furthest away from the stage. Some audience members however enjoy seeing the stage side on, as this can be a interesting way to see the show and feel close to the action on stage. Prices for each box vary along with restrictions, so be sure to check at the time of booking.
Extant fabric of Wyatt’s rebuilding, including the entrance vestibule, rotunda, grand staircase and grand saloon - Samuel Beazley’s cast-iron colonnade to Russell Street - Sculptures exhibited within the rotunda and vestibule - Memorial drinking fountain on Catherine Street elevation
Musical
Original London
1) Frozen (Original London)
Joué durant actuellement
Première preview: ven. 27 août 2021
Première: ven. 27 août 2021
Dernière: Open end
Compositeur: Kristen Anderson-Lopez • Robert Lopez •
Parolier: Kristen Anderson-Lopez • Robert Lopez •
Libettiste: Jennifer Lee •
Metteur en scène: Michael Grandage •
Chorégraphe: Rob Ashford •
Avec:
Commentaire: Disney's Frozen is coming to open the Theatre Royal Drury Lane in Autumn 2020 after its £45 million renovation and restoration programme is complete.
Frozen is brought to the stage by a multi-award-winning creative team, led by Tony® and Olivier Award-winning director Michael Grandage, with book from Academy® and BAFTA Award-winning Jennifer Lee, featuring the cherished songs from the original film, alongside a brand-new score from Kristen Anderson-Lopez and Robert Lopez, the Grammy® and Academy Award®-winning songwriters behind the global phenomenon “Let it Go”. (plus)
Presse:
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Musical
Original
42) Fermeture COVID (Original)
Joué durant 1 an 4 mois
Première preview: 16 March 2020
Première: 16 March 2020
Dernière: 19 July 2021
Compositeur:
Parolier:
Libettiste:
Metteur en scène:
Chorégraphe:
Avec:
Commentaire: Tous les théâtres anglais ont dû fermer dès le 16 mars 2020 suite à la pandémide de COVID… (plus)
Presse:
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Le théâtre ferme pour 20 mois.
Le projet de rénovation veut restaurer le théâtre dans sa gloire historique de 1812. renovation project that will restore the historic theatre to its former 1812 glory.
Musical
Revival
41) 42nd Street (Revival)
Joué durant 1 an 9 mois
Première preview: 20 March 2017
Première: 04 April 2017
Dernière: 05 January 2019
Compositeur: Harry Warren •
Parolier: Al Dubin •
Libettiste: Mark Bramble • Michael Stewart •
Metteur en scène: Mark Bramble •
Chorégraphe: Randy Skinner •
Avec:
Sheena Easton (Dorothy Brock), Tom Lister (Julian Marsh), Clare Halse (Peggy Sawyer), Jasna Ivir (Maggie Jones), Norman Bowman (Pat Denning), Stuart Neal (Billy Lawlor), Graeme Henderson (Andy Lee), Christopher Howell (Bert Barry), Bruce Montague (Abner Dillon), Mark McKerracher (Mac/Doc/Thug) and Emma Caffrey (Annie). Ensemble: Clare Rickard, Victoria Hay, Leah Harris, Jasmine Kerr, Millie O'Connell, Katy Riches, Gabrielle Lewis Dodson, Daisy Steere, Karli Vale, Sophie Camble, Christina Shand, Courtney George, Zoe Rogers, Jessica Keable, Sara Bispham, Lisa Dent, Katharine Pearson, Kirsty Fuller, Rebecca Herszenhorn, Charlene Ford, Dylan Mason, Philip Bertioli, Luke George, Ronan Burns, Eddie Myles, Ryan Gover, Sam Murphy, Freddie Clements, Zac Watts, Greg Bernstein, Kristen Gaetz, Charlotte Anne Steen, Gabrielle Cocca, Kate Ivory Jordan, Josh Andrews, Martin McCarthy
Commentaire: A new revival of the classic Broadway musical 42nd Street… After originally opening on Broadway in 1980 produced by David Merrick and directed by Gower Champion, the musical won the Tony Award for Best Musical and ran for 3,486 performances to January 1989. A West End production opened at the Theatre Royal Drury Lane on 8 August 1984 starring Catherine Zeta Jones and went on to win the Olivier Award for Best Musical. (plus)
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Musical
Original
40) Charlie and the Chocolate Factory (Original)
Joué durant 3 ans 6 mois 2 semaines
Première preview: 22 May 2013
Première: 25 June 2013
Dernière: 07 January 2017
Compositeur: Marc Shaiman • Scott Wittman •
Parolier: Marc Shaiman • Scott Wittman •
Libettiste: David Greig •
Metteur en scène: Sam Mendes •
Chorégraphe: Peter Darling •
Avec: Douglas Hodge (Willy Wonka), Nigel Planer (Grandpa Joe), Clive Carter (Mr Salt), Jasna Ivir (Mrs Gloop), Paul J Medford (Mr Beauregarde), Iris Roberts (Mrs Teavee), Myra Sands (Grandma Georgina), Joe Allen, David Birch, Michelle Bishop, Mireia Mambo Bokele, Matthew Clark, Alex Clatworthy, Jennifer Davison, Luke Fetherston, Nia Fisher, Kate Graham, Clare Halse, Mark Iles, Daniel Ioannou, Kieran Jae, Jane McMurtrie, Natalie Moore-Williams, Sherrie Pennington, Damien Poole, Paul Saunders, Jack Shalloo, Jay Webb.
Commentaire:
Presse: "It only rarely touches the heart or stimulates the imagination. "
Charles Spencer for The Daily Telegraph
"Mendes brings a cinematic sweep to the party that propels proceedings at a rapid pace, overcoming any shortcomings in spectacle and wonder..
Alun Palmer for The Daily Mirror
"The score by the Hairspray combo of Scott Wittman and Marc Shaiman is tuneful and wholly unmemorable...Very engaging but rarely elating, this show is a skillful confection that doesn't quite produce the inspired sugar-rush of magic that's required. "
Paul Taylor for The Independent
"Delivers visual ravishment and a warm glow .
Ian Shuttleworth for The Financial Times
"Even if it doesn’t quite live up to the early hype it’s a tremendously inventive show. .
Henry Hitchings for The Evening Standard
"A triumph of exuberant stagecraft.
Simon Edge for The Express
"The success of Sam Mendes's production lies in its reminder that, for all the razzle-dazzle of Mark Thompson's sets and costumes, Dahl's story is essentially a moral fable.."
Michael Billington for The Guardian
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Musical
Original London
39) Shrek, The Musical (Original London)
Joué durant 1 an 8 mois 2 semaines
Première preview: 06 May 2011
Première: 14 June 2011
Dernière: 24 February 2013
Compositeur:
Parolier:
Libettiste:
Metteur en scène: Jason Moore •
Chorégraphe: Josh Prince •
Avec: Nigel Lindsay (Shrek), Lord Farquaad (Nigel Harman), Richard Blackwood (Donkey), Amanda Holden (Princess Fiona), Jonathan Stewart (Pinocchio), Stephanie Bron (Snow Queen), Lee William-Davies (Wizard), Rosanna Hyland (Little Red Riding Hood), Bradley Jaden (Papa Bear), Jon-Scott Clark (Peter Pan), Delroy Atkinson (White Rabbit), Alice Fearn (Sugar Plum Fairy), Michael Watson (Jack) - from a total cast of 38 , s.
Commentaire: This West End version had been scaled down, given a new opening scene, and undergone a series of changes to make it more suitable for a British audience. A number of the fairy-tale characters were changed, and several songs were cut to shorten the running time of the show. Most of the reviews were enthusiastic, with especial praise for the praise for the “hysterically funny” Nigel Harman. In October 2011 Kimberley Walsh (from the pop group Girls Aloud) took over the role of Princess Fiona when Amanda Holden announced her pregnancy. Further cast changes occurred at the end of February 2012, when Dean Chisnall took over the role of Shrek, and Neil McDermott took over as Lord Farquaad. In May 2012 Carley Stenson took over the role of Princess Fiona. The show extended its booking period and announced it will close in February 2013. (plus)
Presse: "Blessed with a likeable mixture of wit and humanity...Shrek sets out to do no more than entertain, and in this it succeeds handsomely...Shrek certainly doesn’t rank among the musical greats, but it offers an engaging couple of hours of family fun" Charles Spencer for The Daily Telegraph
"Sentiment, beauty and haunting melody are absent. But Shrek is energetically amusing." Quentin Letts for The Daily Mail
"Though there's warmth and wit here, it's not a monster hit." Henry Hitchings for The Evening Standard
"What I love principally about the show, directed with great charm and elating zip by Jason Moore and Rob Ashford, is its delightfully uncynical freshness of spirit. " Paul Taylor for The Independent
"Although Shrek stems from the 2001 DreamWorks film, it is genuinely theatrical, generous-spirited and mercifully free of the sensory bombardment that afflicts some of its rivals. What it lacks is memorable tunes." Michael Billington for The Guardian
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Musical
Revival
38) Oliver! (Revival)
Joué durant 1 an 11 mois 4 semaines
Nb de représentations: 829 représentations
Première preview: 13 December 2008
Première: 14 January 2009
Dernière: 08 January 2011
Compositeur: Lionel Bart •
Parolier: Lionel Bart •
Libettiste: Lionel Bart •
Metteur en scène: Sam Mendes • Rupert Goold •
Chorégraphe: Matthew Bourne •
Avec: Rowan Atkinson (Fagin), Jodie Prenger/Tamsin Carroll (Nancy ), Burn Gorman (Bill Sykes), Julius D’Silva (Mr Bumble) , Wendy Ferguson (Widow Corney) , Julian Bleach (Mr Sowerberry), Louise Gold (Mrs Sowerberry) Laurence Jeffcoate/Gwion Wyn Jones/Harry Stott (Oliver), Eric Dibb Fuller/Ross McCormack/Robert Madge (Artful Dodger)
Commentaire: Although based on the 1994 Palladium production, some new dance sequences were created and the Palladium prologue was removed. The show now opened, as it originally did in 1960, with the workhouse children entering, singing “Food Glorious Food”. The roles of Nancy and Oliver were cast via another BBC reality TV series. When Rowan Atkinson fell ill in April 2009, Russ Abbot took over for three months, after which Fagin was played by Omid Djalili. In December 2009, Griff Rhys Jones took over for six months, with Russ Abbot returning for another six months. Even before opening night, the show had broken all box-office records at Drury Lane (doubtless due to the TV publicity). For the final month, Griff Rhys Jones returned to see show to its triumphant end on January 8 th , 2011. (plus)
Presse: CHARLES SPENCER for THE DAILY TELEGRAPH says, "A cracking night of tuneful entertainment...It's absolutely fantastic showbiz." MICHAEL BILLINGTON for THE GUARDIAN says, " Although this is sanitised Dickens, Bart manages to write some thumping good tunes...Rowan Atkinson turns in a sprightly, distinctive performance...Jodie Prenger as Nancy ...acquits herself extremely well."QUENTIN LETTS for THE DAILY MAIL says, "Rowan Atkinson, playing that warped scout master Fagin, was the eyebrow-wriggling, funny-walking, laugh-wringing supremo of the show...Jodie Prenger, who won the part of the doomed, decent Nancy in a primetime BBC1 talent show, stands up to the test like a sturdy galleon...Anyone who needs cheering up should get along to Drury Lane sharpish and catch this humdinger of a night." MICHAEL COVENEY for THE INDEPENDENT says, "Well, is it a great musical? Yes. Is Rowan Atkinson any good as Fagin? Fairly good, fairly funny, but he can't sing very well... [Jodie Prenger] Her voice is okay, but she can't act and she doesn't have the depth of lung power to fill a plastic bag, let alone a West End theatre on a nightly basis...A masterpiece is restored, but not in its fullest glory." BENEDICT NIGHTINGALE for THE TIMES says, "Jodie Prenger...went on to prove herself a tough, coarse, credible presence with a big, robust voice...Oliver! remains as good and revivable as anything he [Bart] wrote." NICHOLAS DE JONGH for THE EVENING STANDARD says, "I felt director Rupert Goold, came up with a traditional, unadventurous Oliver."
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Musical
Original London
37) Lord of the Rings (The) (Original London)
Joué durant
Première preview: 09 May 2007
Première: 19 June 2007
Dernière: 19 July 2008
Compositeur: Värttinä • A.R. Rahman •
Parolier: Matthew Warchus • Shaun McKenna •
Libettiste: Matthew Warchus • Shaun McKenna •
Metteur en scène: Matthew Warchus •
Chorégraphe:
Avec:
Commentaire:
Presse: PAUL TAYLOR for THE INDEPENDENT says, "A bit of an identity crisis, strong on dynamic spectacle, squeezed as drama, and in two minds about how it wants to use music dramatically." KIERON QUIRKE for THE EVENING STANDARD says, "Ill-fated at conception, tedious and vulgar in execution." MICHAEL BILLINGTON for THE GUARDIAN says, "I had a perfectly good time at Drury Lane and, if Tolkien's trilogy is to be a stage spectacle, I don't see how it could be better done." CHARLES SPENCER for THE DAILY TELEGRAPH says, "The language is flat, portentous or twee, and there is barely a moment that makes you gasp...tiresome grandiosity with mind-rotting mediocrity" SAM MARLOWE for THE TIMES says, "A brave, stirring, epic piece of popular theatre that, without slavishly adhering to J.R.R. Tolkien’s novels, embraces their spirit. The show has charm, wit, and jaw-dropping theatrical brio; crucially, it also has real emotional heft."
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Musical
Original London
36) Producers (The) (Original London)
Joué durant 2 ans 1 mois 4 semaines
Nb de représentations: 920 représentations
Première preview: 22 October 2004
Première: 09 November 2004
Dernière: 06 January 2007
Compositeur: Mel Brooks •
Parolier: Mel Brooks •
Libettiste: Mel Brooks • Thomas Meehan •
Metteur en scène: Susan Stroman •
Chorégraphe: Susan Stroman •
Avec: Nathan Lane (Max Bialystock), Lee Evans (Leo Bloom), Leigh Zimmerman (Ulla), Nicolas Colicos (Franz Liebkind), Conleth Hill (Roger de Bris), James Dreyfus (Carmen Ghia)
Commentaire: Originally the hugely successful Mel Brooks 1968 film, this musical version opened on Broadway in April 2001 to massive acclaim, winning 12 Tony Awards, becoming the first Broadway show to take $1 million a week at the box office. It ran for 2,502 performances. The original much-acclaimed stars were Nathan Lane and Matthew Broderick. In due course British actor Henry Goodman replaced Nathan Lane and Steven Weber replaced Matthew Broderick, but Henry Goodman lasted just 30 performances before being replaced by Brad Oscar. The London production originally announced Richard Dreyfuss as Bialystock, but he dropped out a week before opening night and Nathan Lane rushed in to take over (at a fee of £39,000 per week!) until January, after which he was replaced with Brad Oscar. (plus)
Presse: NICHOLAS DE JONGH for THE EVENING STANDARD says, "A Spiffing knockabout musical comedy"
PAUL TAYLOR for THE INDEPENDENT says, "Unleashes an epidemic of bliss."
MICHAEL BILLINGTON for THE GUARDIAN says, "Intoxicating, time-suspending and slightly guilty pleasure."
CHARLES SPENCER for THE DAILY TELEGRAPH says, "From the opening number, the audience rides a tidal wave of pure pleasure and after three delirious hours one is left stunned by a combination of unstoppable laughter and sheer happiness."
BENEDICT NIGHTINGALE for THE TIMES says, "Mel Brooks, has transformed his celebrated movie into a musical comedy, and as funny a one as I’ve seen."
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Musical
Revival
35) Anything goes (Revival)
Joué durant 10 mois 3 semaines
Nb de représentations: 387 représentations
Première preview: 24 September 2003
Première: 07 October 2003
Dernière: 28 August 2004
Compositeur: Cole Porter •
Parolier: Cole Porter •
Libettiste: Guy Bolton • P.G. Wodehouse •
Metteur en scène: Trevor Nunn •
Chorégraphe: Stephen Mear •
Avec: Sally Ann Triplett (Reno Sweeney), John Barrowman (Billy Crocker), Martin Marquez(Moonface Martin), Annette McLauglin (Erma), Susan Tracy (Mrs. Evangeline Harcourt), Simon Day (Lord Evelyn Oakleigh), Mary Stockley (Hope Harcourt), Denis Quilley (Elisha Whitney), Anthony Cable (Henry T. Dodson), Paul Grunert (Ship's Captain), Robin Soans (Ship's Purser), Duncan Smith FBI Agent, Raymond Chai (John/Luke), Vao Chin (Luke/John)
Commentaire: Transfert du National Theatre.
It had been announced that due to illness Denis Quilley would not be repeating his performance as Elisha Whitney when the show transferred to the West End. The show was already in previews at Drury Lane when it was announced that Denis Quilley had died - two days before the press night. He was 75 and had died of liver cancer.
The opening night was dedicated to his memory. (plus)
Presse: NICHOLAS DE JONGH for THE EVENING STANDARD says, "The musical sends you out on a high."
RHODA KOENIG for THE INDEPENDENT says, "Fabulous production."
MICHAEL BILLINGTON for THE GUARDIAN says, "As tune-and-toe shows go, this is about as good as it gets."
CHARLES SPENCER for THE DAILY TELEGRAPH says, "A glorious voyage to theatrical bliss."
IAN JOHNS for THE TIMES says, "The cast seem to enjoy themselves more as the show progresses and you will too."
ALASTAIR MACAULAY for THE FINANCIAL TIMES says, "A triumph of ensemble."
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Musical
Revival
34) My Fair Lady (Revival)
Joué durant 2 ans 1 mois 1 semaine
Nb de représentations: 873 représentations
Première preview: 21 July 2001
Première: 21 July 2001
Dernière: 30 August 2003
Compositeur: Frederik Loewe •
Parolier: Alan Jay Lerner •
Libettiste: Alan Jay Lerner •
Metteur en scène: Trevor Nunn •
Chorégraphe: Matthew Bourne •
Avec: Jonathan Pryce (Henry Higgins), Martine McCutcheon (Eliza Doolittle), Dennis Waterman (Alfred P. Doolittle), Nicholas Le Prevost (Colonel Pickering), Caroline Blakiston (Mrs Higgins), Mark Umbers (Freddy Eynsford-Hill), Patsy Rowlands (Mrs Pearce), Jill Martin, Sevan Stephan, Ann Emery
Commentaire: This hugely-praised revival won four Olivier Awards, including Best Musical, and awards for Martine McCutcheon and Matthew Bourne. From the outset Martine McCutcheon was plagued with throat problems, and very frequently missed performances, being replaced (to much acclaim!) by her understudy, Alexandra Jay. By December, with five months left on her contract, it was clear that Martine McCutcheon could not continue, and she was replaced with Joanna Riding (who went on to win a further Olivier Award for the show as Best Actress in a Musical in 2003). The show ran two years at Drury Lane, finishing at the end of August, 2003. (It was revived for a 12 city UK tour in September 2005, ending in August 2006. This tour starred Amy Nuttall and Lisa O’Hare as Eliza, Christopher Cazenove as Henry Higgins, Russ Abbot and Gareth Hale as Doolittle, and Honor Blackman and Hannah Gordon as Mrs Higgins.) (plus)
Presse: NICHOLAS DE JONGH for THE EVENING STANDARD describes Martine McCutcheon's performance as 'marvellous" and describes the show as "fairly magical".
SHERIDAN MORLEY for TELETEXT says the show is "sharp and sturdy".He goes on to say, "Matthew Bourne's choreography is brilliant.."
MICHAEL COVENEY for THE DAILY MAIL, describes McCutcheon's performance as "bubbly, bright and immensely endearing". He goes on to say, "In Jonathan Pryce's Higgins we have a major performance by a major actor." He finishes with describing the show as "Wonderfully theatrical."
CHARLES SPENCER for THE DAILY TELEGRAPH says, "Pryce combines commanding authority with charm and delivers the songs with far more panache than Rex Harrison." He goes on to say, "The night belongs to McCutcheon."
BENEDICT NIGHTINGALE for THE TIMES says, "A success to rival the National's Oklahoma!."
MICHAEL BILLINGTON for THE GUARDIAN says, "The first half of the evening is shamelessly enjoyable. But after the interval, doubts crowd in about the show and the production."
ROBERT GORE-LANGTON for THE DAILY EXPRESS says, "It's effortlessly enjoyable."
RHODA KOENIG for THE INDEPENDENT says, "Trevor Nunn's show crackles like a house on fire."
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33) Witches of Eastwick (The) (Original)
Joué durant 7 mois 1 semaine
Nb de représentations: 255 représentations
Première preview: 24 June 2000
Première: 18 July 2000
Dernière: 24 February 2001
Compositeur: Dana P. Rowe •
Parolier: John Dempsey •
Libettiste: John Dempsey •
Metteur en scène: Eric Schaeffer •
Chorégraphe: Bob Avian • Stephen Mear •
Avec: Ian McShane (Daryll Van Horne), Lucie Arnaz (Alexandra Spofford), Joanna Riding (Jane Smart), Maria Friedman (Sukie Rougemont), Rosemary Ashe (Felicia Gabriel), Stephen Tate (Clyde Gabriel), Caroline Sheen (Jennifer Gabriel), Peter Jöback (Michael Spofford), Gee Williams (Fidel), Sarah Lark (Little Girl), Jasna Ivir (Gina Marino), Tim Walton (Joe Marino), Anne Marie McCormack (Gretta Neff), Kevin Wainwright (Raymond Neff), Lisa Peace (Marge Persley), Shaun Henson (Homer Persley), Earl Carpenter (Reverend Ed Parsley), Kathryn Akin (Brenda Parsley), Jocelyn Hawkyard (Rebecca Barnes), Nick Searle (Toby Bergman), Valda Aviks (Eudora Bryce), Matt Dempsey (Curtis Hallerbread), Scarlett Strallen (Mavis Jessup), Julia Sutton (Franny Lovecraft), Chris Holland (Frank Ogden), Alison Forbes (Mabel Ogden), Maurice Lane (Dr Henry Pattison), Jean McGlynn (Marcy Wills)
Commentaire: Based on John Updike’s novel and the film version starring Jack Nicholson, the musical version initially earned mostly positive reviews, but failed to fill the vast Drury Lane auditorium. After seven months it was replaced with a scaled-down version and moved to the more intimate Prince of Wales Theatre. A number of scenes were re-written and the song “Who's the Man?1” was replaced with a rousing gospel number, “The Glory of Me”. At the same time Ian McShane left and was replaced by his understudy, Earl Carpenter. At the end of its first year a general cast change saw Clarke Peters take over as Darryl van Home and Josefina Gabrielle and Rebecca Thornhill replaced Lucie Arnaz and Maria Friedman. On Oct 27th, 2001 the show closed after a 15 month run. There had been a disastrous drop in ticket sales, attributed to a downturn in tourism following the September 11th Twin-Towers attack in New York. (plus)
Presse: SHERIDAN MORLEY for TELETEXT says, "This is in every possible sense a magical show; written, composed, choreographed, designed, directed and played to within inches of perfection." He goes on to say, " The Witches of Eastwick is the musical that starts the 21st century, and it will be a hard act to follow."
EDWARD SECKERSON for THE INDEPENDENT, says "The enjoyment factor is high, the production values sky-high." He goes on to say it is a "likeable and beautifully mounted show".
MATT WOLF for REUTERS/VARIETY, also generally liked the show, saying, "As long as its leading ladies join forces vocally, not to mention aerially, the show flies.. As it happens, that's often enough to keep director Eric Schaeffer's production mostly airborne, despite some dead patches in the second act and a game if underpowered leading man..... When he's not attempting to sing or dance, McShane cuts an attractive roue who matches up perfectly to the ``bearish, dark man'' described in Updike's novel."
BENEDICT NIGHTINGALE for THE TIMES, says, "Dana P. Rowe's music remains refreshingly tuneful, whether it opts for the energetic and brash or for the soft and slightly soppy. John Dempsey's rhymes are never feeble or silly, though seldom very clever. But I caught myself wishing for a dash of Sondheim or Weill, a pinch more toughness and acerbity, along with the fingernails and frogs in the witches' brew."
NICHOLAS DE JONGH for THE EVENING STANDARD gave the show a mixed review saying, "Of the 20 songs, some inspiring frenetic choreography by Bob Avian and Stephen Mear, just one, the witty Dirty Laundry, boasts the impact of a hit. And Maria Friedman also plays powerful, poignant vocal gymnastics in Words, Words Words. But though Rowe's score achieves snatches of symphonic excitement and drama, this is a musical where the scenes between songs and music provide most of the fun and amusement."
ROBERT HEWISON for THE SUNDAY TIMES says,"There are many things to be enjoyed in The Witches of Eastwick."
MICHAEL BILLINGTON for THE GUARDIAN says, "Devil of a good sex fantasy set to music." He goes on to say "Ian McShane as the devil may not have all the best tunes but, after a long absence from the stage, he overflows with energy and a leering, saloon bar smuttiness." Billington goes on to say that "Maria Friedman is outstanding...Joanna Riding is also sharply funny."
SUSANNAH CLAPP for the OBSERVER says, "It's a bubbling cauldron, but it's not spellbinding. The Witches of Eastwick, the catchy and colourful new musical production from Sir Cameron Mackintosh, has lots to recommend it. What it lacks is an original pulse, and a dynamic leading man."
CHARLES SPENCER for THE DAILY TELEGRAPH says, "WHAT a relief. After a string of duds this year, the West End finally has a new musical worth making a song and dance about."
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32) Follies (Concert)
Joué durant
Nb de représentations: 1 représentations
Première preview: Inconnu
Première: 08 December 1996
Dernière: 08 December 1996
Compositeur: Stephen Sondheim •
Parolier: Stephen Sondheim •
Libettiste: James Goldman •
Metteur en scène:
Chorégraphe:
Avec: Sally Durant Plummer ... Julia McKenzie
Phyllis Rogers Stone ... Donna McKechnie
Benjamin Stone ... Denis Quilley
Buddy Plummer ... Ron Moody
Carlotta Campion ... Angela Richards
Stella Deems ... Joan Savage
Hattie Walker ... Libby Morris
Solange LaFitte ... Elizabeth Seal
Roscoe ... Stephen Hill
Heidi Schiller ... Eileen Page
Commentaire:
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31) Miss Saigon (Original)
Joué durant 10 ans 1 mois 1 semaine
Nb de représentations: 4264 représentations
Première preview: Inconnu
Première: 20 September 1989
Dernière: 30 October 1999
Compositeur: Claude-Michel Schonberg •
Parolier: Alain Boublil • Richard Jr Maltby •
Libettiste: Alain Boublil • Claude-Michel Schonberg •
Metteur en scène: Nicholas Hytner •
Chorégraphe: Bob Avian •
Avec: Kim … Lea Salonga
Mimi … Monique Wilson
Gigi … Isay Alvarez
Yvonne … Dominique Nobles
Yvette … Jenine Desiderio
Bar Girl … Pinky Amador, Ruthie Henshall, Suchitra Sen Sawrattan, Shukubi Yo, Antoinette Lo, Claudia Cadette
The Engineer … Jonathan Pryce
John … Peter Polycarpou
Chris … Simon Bowman
Marine … Johnny Amobi, Gerard Casey, Mark Carroll, Richard Calkin, Greg Ellis, Andrew Golder, Nick Holder, Jimmy Johnston, Glyn Kerslake, Ray Shell, Michael Strassen, Louie Spence
Reporter … Tash O'Connor, Mark Bond
Barman … Robert Sena, Jon Jon Briones
Officer of the South Vietnamese Army … Chooi Kheng Beh, Junix Inocian
Vietnamese Customer … Miguel Diaz, Jay Ibot, Victor Laurel, Bobby Martino, William Michaels, Lyon Roque
Mama San … Andy Lanai
Thuy … Keith Burns
Ellen … Claire Moore
Tam … David Platt, Wasseem Hamdan, Allen Evangelista
Pham … Junix Inocian
Huynh … Miguele Diaz
Assistant Commissar … Victor Laurel
Dragon Acrobat … Jimmy Johnston
NVA Soldier … Bobby Martino, Jay Ibot, Andy Lanai, Jon Jon Briones, Chooi Kheng Beh, Robert Sena, Lyon Roque
Hustler … Junix Inocian, Victor Laurel, Lyon Roque, Miguel Diaz
Owner of the Moulin Rouge … Nick Holder
Go-Go Dancer … Pinky Amador, Suchitra Sen Sawrattan, Monique Wilson, Jenine Desiderio
Shultz … Mark Bond
Harrison … Greg Ellis
Travis … Ray Shell
Weber … Michael Strassen
Estevez … Andrew Golder
Allott … Tash O'Connor
Commentaire: The lavish production was notable for the helicopter scene - where a full-size helicopter landed onstage - as well as other spectacular scenic effects. (plus)
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30) Nymph Errant (Concert)
Joué durant
Nb de représentations: 1 représentations
Première preview: Inconnu
Première: 21 May 1989
Dernière: 21 May 1989
Compositeur: Cole Porter •
Parolier: Cole Porter •
Libettiste: Romney Brent •
Metteur en scène: Aucun •
Chorégraphe:
Avec: Kaye Ballard / Emile Belcourt / Fiona Fullerton / Patricia Hodge / Larry Kert / Lisa Kirk / Andrea McArdle / Maureen McGovern / Virginia McKenna / Liliane Montevecchi
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29) Mack and Mabel (Concert)
Joué durant
Nb de représentations: 1 représentations
Première preview: 21 February 1988
Première: 21 February 1988
Dernière: 21 February 1988
Compositeur: Jerry Herman •
Parolier: Jerry Herman •
Libettiste: Michael Stewart •
Metteur en scène:
Chorégraphe:
Avec: Georgia Brown, Debbie Gravitte, George Hearn, Jerry Herman, David Jacobs, Stubby Kaye, Robert Meadmore, Paige O'Hara, Denis Quilley, Frances Ruffelle
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28) 42nd Street (Original London)
Joué durant 4 ans 5 mois
Nb de représentations: 1823 représentations
Première preview: Inconnu
Première: 08 August 1984
Dernière: 07 January 1989
Compositeur: Harry Warren •
Parolier: Al Dubin •
Libettiste: Mark Bramble • Michael Stewart •
Metteur en scène: Gower Champion •
Chorégraphe: Gower Champion •
Avec: Clare Leach (Peggy Sawyer), Georgis Brown (Dorothy Brock), James Laurenson (Julian Marsh), Michael Howe (Billy Lawlor), Margaret Courtenay (Maggie Jones), Hugh Futcher, Catherine Terry
Commentaire: Based on the 1933 Warner Brothers film, the score was supplemented with additional songs from the catalogue of Warren and Dubin. It ran for ten years on Broadway. During its London run James Laurenson was replaced with Frankie Vaughan. (plus)
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27) Dancin' (Original London)
Joué durant 1 mois 2 semaines
Nb de représentations: 88 représentations
Première preview: Inconnu
Première: 14 November 1983
Dernière: 28 February 1884
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste:
Metteur en scène: Bob Fosse •
Chorégraphe: Bob Fosse •
Avec:
Commentaire: This production was roundly condemned by almost all the critics. Most of the reviews resented the pseudo-didactic approach of a narrator introducing the various episodes with a kind of lecture on dance techniques, and it was described as a “scrappily insubstantial little show”. One comment said: “ I feel this particular company has been on the road too long in a vehicle that is positively creaking.” (plus)
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26) Pirates of Penzance (The) (Revival)
Joué durant 1 an 5 mois
Première preview: Inconnu
Première: 26 May 1982
Dernière: 29 October 1983
Compositeur: Arthur Sullivan •
Parolier: W.S. Gilbert •
Libettiste: W.S. Gilbert •
Metteur en scène: Wilford Leach •
Chorégraphe: Graciela Daniele •
Avec: Tim Curry (Pirate King), Pamela Stephenson (Mabel), George Cole (Major General), Michael Praed (Frederic), Annie Ross (Ruth), Bonnie Langford, Louise Gold
Commentaire: This was based on Joseph Papp’s New York Shakespeare Festival Production. It was a completely “new” look at the show - a kind of Broadway version of G&S - and received excellent notices for its exuberance and sheer fun (without straying too far from the original!)
It ran for 17 months, finishing on October 29th, 1983 (plus)
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25) Best Little Whorehouse in Texas (The) (Original London)
Joué durant 5 mois 3 semaines
Nb de représentations: 204 représentations
Première preview: 26 February 1981
Première: 26 February 1981
Dernière: 22 August 1981
Compositeur: Carol Hall •
Parolier: Carol Hall •
Libettiste: Larry L. King • Peter Masterson •
Metteur en scène: Tommy Tune • Peter Masterson •
Chorégraphe: Tommy Tune •
Avec: Carlin Glynn (Mona Stangley), Henderson Forsythe (Ed Earl Dodd), Nigel Pegram (Melvin P. Thorpe), Thick Wilson, Robert Meadmore, Simon Brotherhood, Sally Ann Triplett, Graham Bennett
Commentaire: Although the show contains nothing offensive, the title itself was not one to attract the matinee and out-of-town trade. The notices were good, but it managed just a six month run. (plus)
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24) Sweeney Todd (Original London)
Joué durant 4 mois 2 semaines
Nb de représentations: 157 représentations
Première preview: 02 July 1980
Première: 02 July 1980
Dernière: 15 November 1980
Compositeur: Stephen Sondheim •
Parolier: Stephen Sondheim •
Libettiste: Hugh Wheeler •
Metteur en scène: Harold Prince •
Chorégraphe: Larry Fuller •
Avec: Denis Quilley (Sweeney Todd), Sheila Hancock (Mrs Lovett), Andrew C. Wadsworth (Anthony), Many More (Johanna), Michael Staniforth (Tobias), Austin Kent (Judge Turpin), John Aron (Pirelli), Dilys Watling (Beggar Woman)
Commentaire: Based on the play by Christopher Bond. This Grand-Guignol semi-operatic piece is generally held to be a masterpiece and has gone on to have world-wide success. Yet this first London production failed. It was an exact copy of the Broadway version which won 8 Tony Awards and ran for 558 performances - but the London critics were scathing. They claimed the production was over-blown, swamped with heavy scenery and pretentious. (A later much simpler “chamber” version at the Cottesloe Theatre was an enormous success.) (plus)
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23) Hello, Dolly! (Revival)
Joué durant
Nb de représentations: 170 représentations
Première preview: Inconnu
Première: 25 September 1979
Dernière: Inconnu
Compositeur: Jerry Herman •
Parolier: Jerry Herman •
Libettiste: Michael Stewart •
Metteur en scène: Lucia Victor •
Chorégraphe: Ron Crofoot •
Avec: Carol Channing (Dolly Levi), Eddie Bracken (Horace Vandergelder), Maureen Scott (Irene Molloy), Mandy More (Minnie Fay), Tudor Davies (Cornelius Hackl), Richard Drabble (Barnaby Tucker)
Commentaire: London had seen Mary Martin followed by Dora Bryan as “Dolly” - but this was a chance to see the original New York Dolly in the person of the legendary Carol Channing. The performance was hailed as absolute magic—though the production itself was said to be not a patch on the first time round.
Sera prolongé au Shaftesbury Theatre. (plus)
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22) Brasil Tropical (Original)
Joué durant
Première preview: Inconnu
Première: 29 May 1979
Dernière: Inconnu
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Divers •
Metteur en scène:
Chorégraphe:
Avec: Company: The Tropicana Theatre Co
Commentaire: This was a stage extravaganza from the Rio Carnival which was squeezed into Drury Lane at the last minute. The long-running “Chorus Line” had ended and the next show was advertised as “Bob Fosse’s Dancin”. However, this ran into Equity problems over the American cast, and “Dancin”’ was cancelled. (It would eventually make it to London in 1983). “Brazil Tropical” was hastily put on through the summer until a new production of “Hello Dolly” with Carol Channing replaced it on September 25th. (plus)
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21) A Chorus Line (Original London)
Joué durant 2 ans 8 mois 1 semaine
Nb de représentations: 903 représentations
Première preview: Inconnu
Première: 22 July 1976
Dernière: 31 March 1979
Compositeur: Marvin Hamlisch •
Parolier: Edward Kleban •
Libettiste: James Kirkwood • Nicholas Dante •
Metteur en scène: Michael Bennet •
Chorégraphe: Michael Bennet •
Avec:
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20) No, No, Nanette (Revival)
Joué durant 7 mois 3 semaines
Nb de représentations: 277 représentations
Première preview: 15 May 1973
Première: 15 May 1973
Dernière: 1974
Compositeur: Vincent Youmans •
Parolier: Irvin Caesar • Otto Harbech •
Libettiste: Frank Mandel • Otto Harbech •
Metteur en scène: Burt Shevelove •
Chorégraphe: Donald Saddler •
Avec: Tony Britton (Jimmy Smith), Anna Neagle (Sue Smith), Anne Rogers (Lucille Early), Teddy Green (Billy Early), Thora Hird (Pauline), Barbara Brown (Nanette), Anita Graham, Elaine Holland, Jenny Wren, Peter Gale
Commentaire: La production originale de 1925 avait connu un très long US Tour de Try-Out (qui durera plus d'un an) ce qui avait amené le musical à être créé à Londres au Palace Theatre en mars 1925 avec Ginnie Hale et George Grosssmith avant Broadway! La série londonienne a tenu à l'époque 665 représentations – deux fois la série new-yorkaise (lorsque la série a finalement atteint Broadway six mois après la première londonienne). Le premier revival londonien eut lieu à l’Hippodrome Theatre en 1936 avec Barbara Vernon et Shaun Glenville.
La production de Londres 1973 était une version révisée qui avait initialement ouvert sur Broadway avec Ruby Keeler. Cette fois-ci, la position est inversée: le show de New York totalise 861 représentations, mais celui de Londres n’en compte que 277. (plus)
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19) Great Waltz (The) (Original London)
Joué durant 1 an 7 mois 3 semaines
Première preview: 09 July 1970
Première: 09 July 1970
Dernière: 01 March 1972
Compositeur: Johann Strauss I • Johann Strauss II •
Parolier: Desmond Carter • George Forrest • Oscar Hammerstein II • Robert Wright •
Libettiste: A.M. Willner • Moss Hart •
Metteur en scène: Wendy Toye •
Chorégraphe: Edmund Balin •
Avec: Walter Cassel (Johan Strauss Snr.), David Watson (Schani), Sari Barabas (Helene Vernet), Diane Todd (Resi), Robert Dorning (Dommeyer), Leo Fuchs (Hirsch), Eric Brotherson (Hartkopf)
Commentaire: The book was pedestrian, the lyrics unexciting – and sometimes quite dreadful – but the music was glorious, the costumes gorgeous and the scenery entrancing. In spite of the critics it filled the vast Drury Lane for over 600 performances. Originally the producer Harold Fielding tried his best to persuade the best-loved and most famous European operetta star, Anneliese Rothenberger to play Helen Vernet, but the role eventually went to Hungarian opera star Sari Barabas, and Walter Cassel from New York’s Metropolitan Opera. (plus)
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18) Mame (Original London)
Joué durant
Nb de représentations: 443 représentations
Première preview: 20 February 1969
Première: 20 February 1969
Dernière: Inconnu
Compositeur: Jerry Herman •
Parolier: Jerry Herman •
Libettiste: Jerome Lawrence • Robert E Lee •
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17) Hello, Dolly! (Original London)
Joué durant
Nb de représentations: 794 représentations
Première preview: 02 December 1965
Première: 02 December 1965
Dernière: Inconnu
Compositeur: Jerry Herman •
Parolier: Jerry Herman •
Libettiste: Michael Stewart •
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16) Camelot (Original London)
Joué durant
Nb de représentations: 518 représentations
Première preview: Inconnu
Première: 19 August 1964
Dernière: Inconnu
Compositeur: Frederik Loewe •
Parolier: Alan Jay Lerner •
Libettiste: Alan Jay Lerner •
Metteur en scène: Robert Helpmann •
Chorégraphe: Robert Helpmann •
Avec: Merlyn … Miles Malleson
Arthur … Laurence Harvey
Guenevere … Elizabeth Larner
Lancelot … Barry Kent
Pellinore … Cardew Robinson
Mordred … Nicky Henson
Morgan Le Fey … Moyra Fraser
Sir Dinadan … Victor Flattery
Sir Clarius … Paul Ferris
Sir Lionel … Raymond Edwards
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15) Boys from Syracuse (The) (Original London)
Joué durant
Nb de représentations: 100 représentations
Première preview: Inconnu
Première: 07 November 1963
Dernière: Inconnu
Compositeur: Richard Rodgers •
Parolier: Lorenz M. Hart •
Libettiste: George Abott • William Shakespeare •
Metteur en scène: Christopher Hewett •
Chorégraphe: Bob Herget •
Avec: Bob Monkhouse (Antipholus of Syracuse), Maggie Fitzgibbon (Luce), Lynn Kennington (Adriana), Paula Hendrix (Luciana), Ronnie Corbett (Dromio of Syracuse) , Sonny Farrer (Dromio of Ephesus), Denis Quilley (Antipholus of Ephesus)
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14) My Fair Lady (Original London)
Joué durant
Nb de représentations: 2281 représentations
Première preview: 30 April 1958
Première: 30 April 1958
Dernière: Inconnu
Compositeur: Frederik Loewe •
Parolier: Alan Jay Lerner •
Libettiste: Alan Jay Lerner •
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13) King and I (The) (Revival)
Joué durant
Nb de représentations: 926 représentations
Première preview: 08 October 1953
Première: 08 October 1953
Dernière: Inconnu
Compositeur: Richard Rodgers •
Parolier: Oscar Hammerstein II •
Libettiste: Oscar Hammerstein II •
Metteur en scène: John van Druten •
Chorégraphe: Jerome Robbins •
Avec: Valerie Hobson (Anna), Herbert Lom (King), Muriel Smith (Lady Thiang), Doreen Duke (Tuptim), Jan Mazurus (Lun Tha)
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12) South Pacific (Original London)
Joué durant 1 an 11 mois
Nb de représentations: 802 représentations
Première preview: 01 November 1951
Première: 01 November 1951
Dernière: 26 September 1953
Compositeur: Richard Rodgers •
Parolier: Oscar Hammerstein II •
Libettiste: Joshua Logan • Oscar Hammerstein II •
Metteur en scène: Joshua Logan •
Chorégraphe: Joshua Logan •
Avec: Mary Martin (Nellie Forbush), Wilbur Evans (Emile), Peter Grant (Lt. Cable), Muriel Smith (Bloody Mary) Ray Walston (Luther), Ivor Emmanuel (Sgt Johnson), Betta St John (Liat) . (Mary Martin’s real-life son, Larry Hagman, played a small role in the show.)
Commentaire: Based on two of the stories from James Michener’s “Tales of the South Pacific”, both of which showed the power of love to break down racial barriers, this was considered controversial material in the USA of 1949. The London production initially received rather cool notices - and was nicknamed “South Soporific” by one critic. It was felt to be a very poor second to “Oklahoma”. However, audiences disagreed and the show became a great success. After completing a year’s run, Mary Martin left and was replaced with Julie Wilson. At a later point in its long run, Sean Connery took over in one of the chorus roles. “South Pacific” was only revived in London in 1988. (plus)
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11) Carousel (Original London)
Joué durant 1 an 4 mois 1 semaine
Nb de représentations: 566 représentations
Première preview: Inconnu
Première: 07 June 1950
Dernière: 13 October 1951
Compositeur: Richard Rodgers •
Parolier: Oscar Hammerstein II •
Libettiste: Oscar Hammerstein II •
Metteur en scène: Rouben Mamoulian •
Chorégraphe: Agnès de Mille •
Avec: Carrie Pipperidge … Margot Moser
Julie Jordan … Iva Withers
Mrs. Mullin … Marjorie Mars
Billy Bigelow … Stephen Douglass
Bessie/Singer … Sandra Hartley
Juggler … Eddie Le Roy
First Policeman/Principal/Singer … Vincent Charles
David Bascombe … W. Thorpe Devereux
Nettie Fowler … Marion Ross
June Girl … Mavis Ray
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10) Oklahoma! (Original London)
Joué durant 3 ans 5 mois 3 semaines
Nb de représentations: 1544 représentations
Première preview: 30 April 1947
Première: 30 April 1947
Dernière: 21 October 1950
Compositeur: Richard Rodgers •
Parolier: Oscar Hammerstein II •
Libettiste: Oscar Hammerstein II •
Metteur en scène: Rouben Mamoulian • Jerome Whyte •
Chorégraphe: Agnès de Mille •
Avec: Mary Marlo (Aunt Eller), Harold Keel (Curly), Betty Jane Watson (Laurey), Walter Donahue (Will Parker), Dorothea MacFarland (Ado Annie), Henry Clarke (Jud Fry), Marek Windheim (Ali Hakim)
Commentaire: Drury Lane: 30/4/1947 > 27/5/1950
Stoll Theatre: 29/5/1950 > 21/10/1950
La Try-Out à Manchester a commencé un jour plus tard que prévu lorsque le navire qui transportait la troupe, les décors et les costumes s’est échoué sur un banc de sable au large de Southampton.
La production londonienne était une recréation exacte du spectacle de Broadway. (plus)
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Musical
Original
9) Dancing Years (The) (Original)
Joué durant
Nb de représentations: 187 représentations
Première preview: Inconnu
Première: 23 March 1939
Dernière: Inconnu
Compositeur: Ivor Novello •
Parolier: Christopher Hassall •
Libettiste: Ivor Novello •
Metteur en scène: ???? ???? •
Chorégraphe: ???? ???? •
Avec: Mary Ellis, Olive Gilbert, Ivor Novello, Dunstan Hart, Roma Beaumont.
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Musical
Original
8) Three Sisters (Original)
Joué durant
Nb de représentations: 72 représentations
Première preview: 09 April 1934
Première: 09 April 1934
Dernière: Inconnu
Compositeur: Jerome Kern •
Parolier: Oscar Hammerstein II •
Libettiste: Oscar Hammerstein II •
Metteur en scène: Oscar Hammerstein II •
Chorégraphe:
Avec: Elliot Makeham (Will Barbour), Charlotte Greenwood (Tiny), Adele Dixon (Dorrie), Victoria Hopper (Mary), Stanley Holloway (P.C. Eustace), Albert Burdon (George Purvis), Esmond Knight (Gypsy Hood), Richard Dolman (Sir John Marsden), Gladys Henson, Dick Francis
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Musical
Original
7) Cavalcade (Original)
Joué durant 11 mois
Nb de représentations: 405 représentations
Première preview: 13 October 1931
Première: 13 October 1931
Dernière: 10 September 1932
Compositeur: Noël Coward •
Parolier: Noël Coward •
Libettiste:
Metteur en scène: Noël Coward •
Chorégraphe:
Avec: Mary Clare (Jane Marryot), Edward Sinclair (Robert Marryot), Una O'Connor (Ellen Bridges), Fred Groves (Alfred Bridges), Irene Browne (Margaret Harris), Alison Leggatt (Edith Harris), Arthur Macrae (Edward Marryot), John Mills (Joe Marryot), Binnie Barnes (Fanny Bridges), Veronica Vanderlyn (Edith)
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Musical
Original London
6) Three Musketeers (The) (Friml) (Original London)
Joué durant 7 mois
Nb de représentations: 242 représentations
Première preview: 28 March 1930
Première: 28 March 1930
Dernière: 25 October 1930
Compositeur: Rudolf Friml •
Parolier: Clifford Grey • P. G. Wodehouse •
Libettiste: William Anthony McGuire •
Metteur en scène: Alexander Leftwich •
Chorégraphe:
Avec:
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Musical
Original London
5) New Moon (The) (Original London)
Joué durant 4 mois 1 semaine
Nb de représentations: 148 représentations
Première preview: 04 April 1929
Première: 04 April 1929
Dernière: 10 August 1929
Compositeur: Sigmund Romberg •
Parolier: Oscar Hammerstein II •
Libettiste: Frank Mandel • Laurence Schwab • Oscar Hammerstein II •
Metteur en scène: Felix Edwardes •
Chorégraphe: Bobby Connolly •
Avec: Evelyn Laye (Marianne Beaunoir), Howett Worster (Robert Mission), Gene Gerrard (Alexander), Ben Williams (Philippe), Dolores Farris (Julie)
Commentaire: La production originale de Broadway a ouvert ses portes en septembre 1928, après une période de gestation troublée impliquant une tournée abandonnée, un nouveau livret, de nouvelles chansons et plusieurs changements de casting. Il a finalement gagné et présenté 509 représentations.
Il n’a pas eu cette chance à Londres. Bien que ce soit la quatrième comédie musicale d'Oscar Hammerstein consécutive à se jouer au Drury Lane, il s’est avéré être le moins réussi, et a réussi à tenir l'affiche seulement quatre mois. Lors de l'annonce de la fermeture du show, Sir Alfred Butt a fait la déclaration suivante à la presse: «The New Moon a 4.000£ de recettes par semaine, mais cela ne permet pas son maintien. Les principales dépenses sont les suivantes: salaires des artistes: 1.587£; honoraires des auteurs et des compositeurs: 543£; orchestre: 279£; personnel de scène: 231£; éclairage et chauffage: 183£; publicité: 330£; personnel du théâtre: 199£; entretien des costumes: 131£. L’élément important du loyer et des autres charges n’est pas inclus. Il y a aussi les dépenses de production à prendre en compte. La politique des grands spectacles musicaux – en particulier des États-Unis, où les auteurs et les compositeurs accaparent plus d’un huitième des recettes totales – est très dangereuse». (plus)
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Original London
4) Show Boat (Original London)
Joué durant 10 mois
Nb de représentations: 350 représentations
Première preview: 03 May 1928
Première: 03 May 1928
Dernière: 02 March 1929
Compositeur: Jerome Kern •
Parolier: Oscar Hammerstein II •
Libettiste: Oscar Hammerstein II •
Metteur en scène: Felix Edwardes •
Chorégraphe: Max Scheck •
Avec: Edith Day (Magnolia), Howett Worster (Gaylord Ravenal), Cedric Hardwicke (Cap’n Andy), Marie Burke (Julie La Verne), Viola Compton (Parthy), Paul Robeson (Joe), Alberta Hunter (Queenie), Dorothy Lena (Ellie May), Leslie Sarony (Frank Schultz), Colin Clive (Steve Baker)
Commentaire: This production cut the following: "Goodbye, My Lady Love", "Hey, Feller", and "Kim's Imitations" (with "Eccentric Dance" and "Tap Dance"). "Goodbye, My Lady Love" was replaced with a previous Kern song "How'd You Like to Spoon With Me?". "Kim's Imitations" was replaced with a new song written for Edith Day (who played Magnolia/Kim) called "Dance Away the Night". A song called "Me and My Boss" was written for Paul Robeson as Joe but never performed. (plus)
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Musical
Original London
3) Desert Song (The) (Original London)
Joué durant 1 an 1 semaine
Nb de représentations: 432 représentations
Première preview: 07 April 1927
Première: 07 April 1927
Dernière: 14 April 1928
Compositeur: Sigmund Romberg •
Parolier: Otto Harbach •
Libettiste: Frank Mandel • Oscar Hammerstein II • Otto Harbach •
Metteur en scène: Laurence Schwab •
Chorégraphe: Bobby Connolly •
Avec: Edith Day (Margot), Harry Welchman (Pierre Birabeau), Gene Gerrard (Bennie Kidd), Phoebe Brune (Azuri), Sidney Pointer (Sid El Kar), Barry Mackaye (Capt Paul Fontaine), Maria Minetti (Clementina), Clarice Hardwicke (Susan)
Commentaire: La première à Londres a connu un grand succès et a mené à trois reprises dans les années 1930, puis en 1943 et 1967. (plus)
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Musical
Original London
2) Rose-Marie (Original London)
Joué durant 2 ans
Nb de représentations: 851 représentations
Première preview: Inconnu
Première: 20 March 1925
Dernière: 26 March 1927
Compositeur: Herbert Stothart • Rudolf Friml •
Parolier: Oscar Hammerstein II • Otto Harbech •
Libettiste: Oscar Hammerstein II • Otto Harbech •
Metteur en scène: Felix Edwardes •
Chorégraphe: J. Kathryn Scott •
Avec: Edith Day (Rose Marie), Derek Oldham (Jim Kenyon), Clarice Hardwick (Lady Jane), Billy Merson (Hardboiled Herman), Ruby Morris (Wanda), John Dunsmure (Sgt. Malone), Michael Cole (Emile la Flamme)
Commentaire: Il y avait plus de 100 choristes au Drury Lane.
La première à Londres a eu lieu à Drury Lane avec Edith Day et Derek Oldham. Le spectacle a eu 851 représentations, la plus longue série des années '20 à Londres pour un musical. (plus)
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