Eventim Apollo
Londres - Angleterre

Construction: 1932

Topologie du théâtre

Nombre de salles actives: 1
Salle 1: (5039)    1932 - Actif

Accès

En métro: Hammersmith (Piccadilly, District and Hammersmith & City lines)
En bus: 9, 10, 27, 33, 419, 72, H91, 190, 211, 220, 267, 283, 295 and 391
Adresse: 45 Queen Caroline Street, London, W6 9QH

Evolution

Bâtiment:
Nom: Gaumont Palace / Hammersmith Odeon / HMV Apollo

Propriétaire(s)


Remarquable

The enormous width (192 feet) of the site allowed Cromie to provide an excellent fan shaped auditorium which for its size is remarkably intimate. The rear of the circle is 170 feet wide and the circle only overhangs the stalls by 10-12 rows providing excellent sightlines from all parts of the house. The Art Deco style decoration in such a large auditorium is slightly underpowered but nevertheless this is an outstanding, nearly unaltered, example of cinema architecture and is Robert Cromie’s finest surviving cinema.
5039 
1932 - Actif

Hammersmith Apollo is one of London’s major live entertainment venues. It is located in Hammersmith, West London and is one of the UK’s largest and best-preserved original theatres.

It opened on the 28th of March, 1932 as the Gaumont Palace cinema, designed in the Art Deco style by renowned theatre architect Robert Cromie, who also designed the Prince of Wales Theatre in Central London.

It was designed on behalf of a joint collaboration between exhibitor Israel Davis and the Gaumont British Theatres chain. It had 3,487 seats and the opening programme was Tom Walls “A Night Like This” and Helen Twelvetrees in "Bad Company".

It had a large 35 foot deep stage, an excellent fan shaped auditorium (which, despite its enormous 192 feet width allows remarkable intimacy and excellent sightlines from all parts of the house), twenty dressing rooms, a Compton4Manual/15 Ranks theatre organ and a café/restaurant located on the balcony/foyer area.

Hammersmith Apollo was renamed the Hammersmith Odeon in 1962 and started playing host to many legendary acts of the day, including The Beatles, The Rolling Stones and Bob Marley. It screened its last regular film on 8th August 1984, “Blue Thunder” starring Roy Scheider.

Following a sponsorship deal, it was later refurbished and renamed the Labatt’s Apollo. During his 1992 sell out tour, Michael Ball, the musical theatre star, best known for his roles in Les Miserables, Phantom of the Opera and Hairspray, was the last person to play the venue when it was named "Odeon" and the first person to play after it was renamed "Apollo". The venue continued to host long running shows and musicals such as Riverdance and Dr Doolittle.

In the early 1990’s it reverted back to the Hammersmith Apollo. In 1990, it was designated a Grade II listed building by English Heritage and was upgraded to Grade II* status in 2005.
2003 saw the venue renamed as the Carling Apollo Hammersmith, after another brewery entered into a sponsorship deal with the then-owners, Clear Channel Entertainment, a US-based company (which then spun off as Live Nation UK). Major alterations enabled the stalls to be removable, allowing for both standing and fully-seated events. Capacity became 5,039 (standing) and 3,632 (sitting) and in recent years, performers have included Oasis, REM, Stereophonics , Kylie, Elton John, Peter Kay and Paul Weller to name but a few.

In 2006, the venue reverted to its former name, the Hammersmith Apollo. The owners were encouraged by Hammersmith & Fulham Council and the Cinema Theatre Association to reinstate the original Compton organ console which had been removed from the building and put into storage in the 1990’s. The organ chambers were retained in the building and with its’ console connected up again, the huge Apollo auditorium is now filled with its’ sound after 25 years of silence.

The venue changed hands once again in June 2007 when it was bought by MAMA Group, a UK based entertainment company who own a number of music venues and festivals, artist management companies and other music-related businesses such as the UK’s most widely circulated music magazine, The Fly.

On 14 January 2009, it was announced that MAMA Group had entered into a joint venture with HMV to jointly run 11 live music venues across the UK, including the Hammersmith Apollo, the Kentish Town Forum, the Jazz cafe and Aberdeen's Moshulu. Hence, the venue is now known as the HMV Hammersmith Apollo.

Now the legendary music venue has changed hands as AEG Live and Eventim have teamed up and reverted the building back to the original venue name, Hammersmith Apollo.

Gaumont Palace / Hammersmith Odeon / HMV Apollo

The enormous width (192 feet) of the site allowed Cromie to provide an excellent fan shaped auditorium which for its size is remarkably intimate. The rear of the circle is 170 feet wide and the circle only overhangs the stalls by 10-12 rows providing excellent sightlines from all parts of the house.

The Art Deco style decoration in such a large auditorium is slightly underpowered but nevertheless this is an outstanding, nearly unaltered, example of cinema architecture and is Robert Cromie’s finest surviving cinema.


Musical
Revival

11) Sister Act (Revival)

Joué durant  1 mois

Première preview: lun. 27 juillet 2020
Première: lun. 27 juillet 2020
Dernière: dim. 30 août 2020

Compositeur: Alan Menken •  
Parolier: Glenn Slater •  
Libettiste: Bill Steinkellner • Cherie Steinkellner •  
Metteur en scène: Bill Buckhurst •  
Chorégraphe:  
Avec: Whoopi Goldberg (Deloris Van Cartier), Jennifer Saunders (Mother Superior), Brenda Edwards (Deloris Van Cartier - Thu Mats). 


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Musical
Reprise

10) Nativity! The Musical (Reprise)

Joué durant  2 semaines

Première preview: mer. 11 décembre 2019
Première: mer. 11 décembre 2019
Dernière: dim. 29 décembre 2019

Compositeur: Debbie Isitt • Nicky Ager •  
Parolier: Debbie Isitt • Nicky Ager •  
Libettiste:  
Metteur en scène: Debbie Isitt •  
Chorégraphe:  
Avec: Simon Lipkin, Rylan Clark-Neal, Sharon Osbourne, Danny Dyer, Dani Dyer, Scott Garnham, Ashleigh Gray, Jonathan Bourne, Charles Brunton, Jamie Chapman, Penelope Woodman, Dawn Buckland, Connor Ewing, Kade Ferraiolo, Amy Oxley, Helena Pipe and Billy Roberts. 


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Musical
Reprise

9) Nativity! The Musical (Reprise)

Joué durant  1 semaine

Première preview: mer. 19 décembre 2018
Première: mer. 19 décembre 2018
Dernière: lun. 31 décembre 2018

Compositeur: Debbie Isitt • Nicky Ager •  
Parolier: Debbie Isitt • Nicky Ager •  
Libettiste:  
Metteur en scène: Debbie Isitt •  
Chorégraphe:  
Avec: Jo Brand (The Critic - Edinburgh and London), Dani Dyer (Polly Parker - London), Jake Wood (Hollywood Producer - Oxford), Adam Thomas (Hollywood Producer - Stoke and Liverpool), Jane McCarry (Hollywood Producer - Glasgow), Charlie Brooks (Hollywood Producer - Nottingham), Simon Lipkin (Mr Poppy), Scott Garnham (Mr Maddens), Ashleigh Gray (Jennifer Lore), Andy Brady (Mr Shakespeare), Jemma Churchill (Mrs Bevan), Jamie Chapman (Patrick Burns), Oscar Conlon-Morrey (Ensemble/Mr Rye), Gary Davis (Ensemble/Lord Mayor), Andy Barke (Ensemble/Mr Parker), Helena Pipe (Ensemble), Ashleigh Graham (On Stage Swing), Kade Ferraiolo (On Stage Swing), Pepper, Cracker, Siena Austen, Adelaide Barham, Brian Bartle, Aliyah Bashir, Sophia Beswick, Gretel Bradwell, Charlotte Breen, Thalia Jada Charles, Jacob Dennison, Louis Dennison, Maddie Evans, Talia Etherington, Jack Forino, Liberty Greig, May Greta Haywood, Gabriel Illesley, Matthew Illesley, Lily Jackson, Darcy Kelly, Rosie Gell-Marquez, Elliot Morris, Maddison Olatunji, Regan Parker, Bella Perdoni, Aoife Reilly, Azaria Sharpe, Ellicia Simmondwood, Nina Stevenson, Aaliyah White, Sophie Wood. 


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Musical
Original London

8) Nativity! The Musical (Original London)

Joué durant  

Première preview: mer. 13 décembre 2017
Première: mer. 13 décembre 2017
Dernière: dim. 17 décembre 2017

Compositeur: Debbie Isitt • Nicky Ager •  
Parolier: Debbie Isitt • Nicky Ager •  
Libettiste:  
Metteur en scène: Debbie Isitt •  
Chorégraphe:  
Avec: Daniel Boys (Paul Maddens), Sarah Earnshaw (Jennifer Lore), Simon Lipkin (Mr Poppy), Jemma Churchill (Mrs Bevan), Jamie Chapman (Patrick Burns), Andy Barke (Ensemble), Katia Sartini (Ensemble), Gary Davis (Ensemble), Louis Walsh (guest appearance Dec 13-17). 


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Musical
UK Tour

7) American Idiot (UK Tour)

Joué durant  1 semaine

Première preview: Inconnu
Première: mar. 04 décembre 2012
Dernière: dim. 16 décembre 2012

Compositeur: Green Day •  
Parolier: Billie Joe Armstrong •  
Libettiste: Billie Joe Armstrong • Michael Mayer •  
Metteur en scène: Michael Mayer •  
Chorégraphe: Steven Hoggett •  
Avec: Alex Nee (Johnny), Thomas Hettrick (Tunny), Casey O'Farrell (Will), Alyssa DiPalma (Whatsername), Jenna Rubaii (The Extraordinary Girl), Kennedy Caughell (Heather), Trent Saunders (St. Jimmy). Aurie Ceylon, Carson Higgins, Antwaun Holley, Daniel C. Jackson, Brandon Kalm, John Krause, Alison Morooney, Turner Rouse, Jr., Jamal Shuriah, Dustin Harris Smith, Ashley Tobias, Chelsea Turbin and Jared Young. 


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Musical
Revival

6) High School Musical, on stage (Revival)

Joué durant  1 mois 3 semaines

Première preview: sam. 28 juin 2008
Première: sam. 05 juillet 2008
Dernière: dim. 31 août 2008

Compositeur:  
Parolier:  
Libettiste: David Simpatico •  
Metteur en scène: Jeff Calhoun •  
Chorégraphe: Lisa Stevens •  
Avec: Letitia Dean (Ms Darbus), Norman Bowman (Coach Bolton), Mark Evans (Troy Bolton), Claire-Marie Hall (Gabriella Montez), Rebecca Faulkenberry (Sharpay Evans), Michael Pickering (Ryan Evans), Nadine Higgin (Taylor McKessie), Damian Winter-Higgins (Chad Danforth), Dylan Turner (Zeke Baylor), Ben Nicholas (Jack Scott), Laurie Scarth (Martha Cox), Holly Taylor (Kelsi Neilson), Gregor Stewart, Simon Hardwick, Nyroy Dixon, Matt Flint, Adam Bracegirdle, Paul Riddiford, Stevie Hutchinson, Matthew Russell-Jones, Lauren Varnham, Kirsty McDonald, Helen Morris, Maxine Ewenson, Stephanie Siadatan, Carly Mercedes Dyer, Samantha Tan, Hayley Griffiths, Chris Milford, Carl Au, Karli Vale, Sarah-Louise Warden 


Commentaire:   


Presse: FIONA Mountford for THE EVENING STANDARD says, "A charmingly chaste delight."
PAUL TAYLOR for THE INDEPENDENT says, "Zero originality."
LYN GARDNER for THE GUARDIAN says, "Cheerful, squeaky-clean entertainment...The design is tawdry, the choreography dull...It's not about art, but about artfully parting you from your cash."
CHARLES SPENCER for THE DAILY TELEGRAPH says, There is something genuinely uplifting about so many children having so much fun, and though you might legitimately complain that the show's narrative is sometimes cheesy, and its songs a touch bland, they both do the job."
BENEDICT NIGHTINGALE for THE TIMES says, "hyper-energetic production is a terrific success."

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Musical
Original

5) Oh! What a Night (Original)

Joué durant  2 mois 1 semaine

Nb de représentations: 84 représentations
Première preview: mar. 27 juillet 1999
Première: jeu. 05 août 1999
Dernière: sam. 16 octobre 1999

Compositeur: *** Divers •  
Parolier: *** Divers •  
Libettiste: *** Divers •  
Metteur en scène: Kim Gavin •  
Chorégraphe: Kim Gavin •  
Avec: Michael Howe (Paul Bums), Kid Creole (Brutus T. Firefly), Lucy Moorby (Nikki), Dean Maynard (Jack), John Altman (Rocco), Will Mellor (Rik), Victoria Wilson-James (Roxie), Nigel Roche, Gary Lloyd, Rebecca Reaney, Tee-Jaye 


Commentaire: This show originated in Manchester, and even though it had a somewhat complicated plot, it was effectively yet another compilation musical. It had two TV soap-operas stars and an American rock star in its cast, and was lavishly staged. However, it only managed a ten week run.  (plus) 


Presse: "If wall-to-wall Seventies disco hits are your idea of heaven, you may want to yank on your vintage hot pants and platform boots and make for the Apollo. Here you will be encouraged to boogie in the aisles and sing along: "Get up, get on up", That's the way - unuh, uhuh -1 like it" and, erm, so on. These golden oldies and many, many more are pumped out by the off-stage band and director Kim Gavin's all-singingy all-dancing cast in this retro compilation musical... Many of Gavin s cast are wooden actors with a risible nabit of standing in a line facing the front when supposedly chatting each other up. Still, Creole does get things rolling, narrating with spiwy pizazz. Howe is affably shambling. Though he looks a litle self-conscious, the multi-talented Mellor, 23, croons 'Easy like Sunday morning" mellifluously. And finally the dancing, led by the impossibly sexy Michelle McSween, is irresistible. Gavin's choreography, combining natty, synchronised high stretches with pumping, muscular thrusts, really does make you want to get up and get on down." The Daily Telegraph

"Cast a jaundiced eye over the productions currently clogging up London's West End, and You’ll reach the conclusion that all you need to barge your way into the tacky world of musicals is either a job lot of dead rock stars, like 4 Steps to Heaven, or a heap of elderly pop songs from a previous era, in the style of Soul Train. Oh! What A Night isn't the worst specimen you'll find. At least it has some semblance of a story, and the trio of scriptwriters have gestured vaguely in the direction of giving the characters some kind of individual identity... [The plot] has potential, but most or it gets lost in a smog or grindingly feeble jokes and insipid dialogue... Salvation, such as it is, arrives in the form of a barrage of disco classics, including everything from the Hustle, Car Wash and Play that Funky Music to YMCA and the Commodores’ Easy. The dandng is colourful and energetic, on an ingenious set which folds inside out to become either a Manhattan street scene or the Infernos spacious interior. Thanks to the feisty house band, the long finale based on Kool And The Gang's Celebration (not actually released until 1980, trainspotters!) turned into an extended rave which was by far the best part of the show. If you're going, disengage your brain first." The Guardian

"...Another compilation musical as dumb, energetic and irritating as an overexcited puppy. This one, which originated in Manchester, pegs 40 disco standards of the Seventies to a paper-thin plot centring on a New York nightclub, and enlists two soap actors and poor old Kid Creole - who must have fallen on hard times - to buttress its inanity. The dancing is good, the acting dreadful, the sets sumptuous and the costumes absurd. The songs do their funky groove thang on the rare occasions when they are properly audible... [The] story is only there to showcase the songs ana the hits come thick, fast, loud and incoherent. Many great tunes are belted out without consonants. Many are off-key or off-beat, while the charmless Mellor gets to reprise his one chart hit, When I Need You, at nauseating length. Kid Creole coasts and John Altman does a bad gangster impression. The play's depiction of ethnic harmony masks a great deal of blaxploitation stereotyping. Kim Gavin concentrates on zesty dance routines rather than the acting or the music: and in a show that sells itself on the nostalgic pull of its soundtrack, that's not good enough. The London Evening Standard

"...It's not hard to divine the thinking behind the current vogue for gigs masquerading as musicals. The songs are the draw, and when they are well performed they provide an honest and satisfying night out. Oh! What A Night tried to be a bit cleverer. The scenario sounds reasonable enough: a disco musical set in a Seventies New York nightclub. The plot turns around the attempts by hoodlum Rocco to seize control of the joint from Paul, its alcoholic owner. The subplot involves Paul's daughter Nikki’s engagement to Rocco's slimy son and her yen for grimy Mancunian Rik (Mellor). And the sub-sub plot concerns a talent contest being held to choose dancers for a Hollywood disco flick. But apart from the suspicion that several parts were written purely for the actors, it all looks like an unnecessary excuse to stage some well-loved songs. The script is so moribund - even for the Seventies - and the acting and direction so rudimentary that you wish they would just get on with the real business at hand. When they do - with YMCA at the end of the first half, and a medley of hits at the end of the second - the show gets a much-needed boost. Even so, the choreography is nothing to write home about: some of the routines look like an aerobics class with a soundtrack... the cast are given precious few chances to work their charms, and the show misses any real sense of the Seventies by a mile. The Times

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Musical
Original

4) Doctor Dolittle (Original)

Joué durant  10 mois 3 semaines

Nb de représentations: 375 représentations
Première preview: lun. 29 juin 1998
Première: mar. 14 juillet 1998
Dernière: sam. 05 juin 1999

Compositeur: Leslie Bricusse •  
Parolier: Leslie Bricusse •  
Libettiste: Leslie Bricusse •  
Metteur en scène: Steven Pimlott •  
Chorégraphe: Aletta Collins •  
Avec: Phillip Schofield (Dr Dolittle), Bryan Smith (Matthew Mugg), James Paul Bradley/Samuel Carter-Brown/Darien Smith (Tommy Stubbins), Sarah Jane Hassell (Emma Fairfax), Peter Cellier (General Bellowes), John Rawnsley (Albert Blossom), Holli Hoffman (Chee-Chee), Peter Gallagher (Straight Arrow), Voice of Julie Andrews (Polynesia), Gary Forbes, Michael Gyngell, Drew Varley 


Commentaire: With clever animatronic puppets from the Jim Henson studio, and a flying moth over the auditorium, this £4 million production was a satisfactory adaptation of the Rex Harrison/Anthony Newley film version, and provided ideal family entertainment for the best part of a year’s run.  (plus) 


Presse: CHARLES SPENCER of THE DAILY TELEGRAPH says "It is a warm and winning family show, and having expected to like Dolittle very little, I actually enjoyed it quite a lottle."

MICHAEL COVENEY of THE DAILY MAIL says "This may look like a low-rent Lion King, but it has its own wacky, very English charm."

DAVID BENEDICT of THE INDEPENDENT says, "If you have got kids - grab them and go."

MICHAEL BILLINGTON of THE GUARDIAN says, "Don't go expecting Chicago or Pal Joey. But, on its own terms, Doctor Dolittle is a wholly delightful family musical: ecologically sound, visually ravishing and genuinely charming."

MAX BELL of THE EVENING STANDARD says, "Animal magic makes the Doctor a winner."

ROBERT GORE-LANGTON of THE DAILY EXPRESS was not overly exited about the show saying; " There's lashings of special effects plus an impressive airborne finale. It doesn't really deserve it, but I've no doubt this show will become this summer's unmissable family outing."

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Musical
West End Transfer

3) Summer Holiday (West End Transfer)

Joué durant  2 mois 2 semaines

Première preview: mar. 08 juillet 1997
Première: mar. 08 juillet 1997
Dernière: sam. 20 septembre 1997

Compositeur: *** Divers •  
Parolier: *** Divers •  
Libettiste: *** Divers •  
Metteur en scène: Ultz •  
Chorégraphe: Queeny Sachs •  
Avec: Darren Day (Don), Darren J. Bennett (Steve), Mark McGee (Edwin), Rene Zagger (Cyril), Lucie Fentum (Mimsie), Miranda Richards (Angie), Jo Sherwood (Alma), Clare Buckfield (Barbara), Hilary O’Neill (Stella), Ross King (Wallace) 


Commentaire: This was a gloriously camp re-creation of the film: Paris (berets and an accordion player), Switzerland (clock, bells, sheep and cows), finally Greece (blokes in white skirts, gold waistcoats and red caps); a tendency for the boys to strip continually down to their Y-fronts; an updating with some terrible jokes (one of Don’s gormless male friends gives him a baguette and says, knowingly. “Now you’ve got something else that’s nine inches” - another gets to Paris and says “I really want to go to the Louvre” only to be told “Well, use that tree over there”) - the whole show was gloriously awful. Darren Day managed a very creditable impersonation of Cliff Richard, and Hilary O’Neill stole the show with a totally over-the top comedy performance as the mother. The show was critic-proof, and packed with Cliff Richard/Darren Day fans who screamed their delight from start to finish. It had played a six-month sell-out season at Blackpool Opera House in the summer of 1996, and then toured before this six month season in London.  (plus) 


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Musical
Original London

2) Heathcliff (Original London)

Joué durant  2 mois 2 semaines

Première preview: mer. 12 février 1997
Première: mer. 12 février 1997
Dernière: sam. 03 mai 1997

Compositeur: John Farrar •  
Parolier: Tim Rice •  
Libettiste: Cliff Richard • Frank Dunlop •  
Metteur en scène: Frank Dunlop •  
Chorégraphe: Brad Jeffries •  
Avec: Cliff Richard (Narrator/Heathcliff), Helen Hobson (Cathy), Jimmy Johnston (Earnshaw/Hindley), Darryl Knock (Edgar), Sara Haggerty (Isabella), Gordon Giltrap (Troubadour), Geoff David, Chris Holland, Sonia Jones, Niki Kitt, Suzanne Parry 


Commentaire: The music was by John Farrar, a former member of Cliff Richard’s legendary backing group, The Shadows, the lyrics by Tim Rice and the production by the renowned Frank Dunlop. Because of Cliff Richard’s personal reputation as the “Peter Pan of Pop” and the squeaky-clean image of his private life, he was never likely to be taken seriously by the critics. They had great fun suggesting other unlikely pieces of casting: Liberace as King Lear, Max Bygraves as Titus Andronicus, Julie Andrews as Lady Macbeth - and calling the show more “withering than wuthering”. However, for its Birmingham Arena premiere it had a record-breaking £8.5 million advance, with 340,000 tickets sold. It was a sell-out there, in Edinburgh, Manchester and during its London Apollo run, and packed every night with the blue-rinsed army of fans nicknamed the “Cliffhangers”.
Whatever the critics’ view of Cliff Richard as an actor, there was no doubting he was a genuine, twenty-four carat star.  (plus) 


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Musical
Revival

1) Joseph and the Amazing Technicolor Dreamcoat (Revival)

Joué durant  1 mois 3 semaines

Nb de représentations: 71 représentations
Première preview: jeu. 22 février 1996
Première: mar. 27 février 1996
Dernière: sam. 20 avril 1996

Compositeur: Andrew Lloyd Webber •  
Parolier: Tim Rice •  
Libettiste:  
Metteur en scène: Steven Pimlott •  
Chorégraphe: Anthony Van Laast •  
Avec: Philip Schofield (Joseph), Ria Jones (Narrator), Robert McWhir (Benjamin), Chris Holland (Pharaoh), Barry Martin, Richard Woodford, Elizabeth Cooper-Gee 


Commentaire: This was a revival of the production which ran at the London Palladium from June 1991 to January 1994, back in the West End for the second time for a nine week season.  (plus) 


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