Garrick Theatre
Londres - Angleterre

Construction: 1889

Topologie du théâtre

Nombre de salles actives: 1
Salle 1: (724)    1889 - Actif

Accès

En métro: Leicester Square
En bus: 3, 6, 9, 12, 13, 15, 24, 29, 30
Adresse: 2, Charing Cross Road, London, WC2H 0HH

Evolution

Bâtiment: Named after the great 18th-century actor David Garrick - 1889. Designed for W. S. Gilbert by Waiter Emden and C. J. Phipps - Statutorily Listed Historic Building: Grade II*.
Nom:

Propriétaire(s)


Remarquable

The Bath and Portland stone screen wall to Charing Cross Road - Interior, including foyer, auditorium and upper-circle bar - Good original entrance doors.
724 
1889 - Actif

Le cast de Red Velvet au Garrick est annoncé

 Londres (Angleterre)
 Garrick Theatre  
 ** Hors DB Theatre  
 Publié le 04 déc. 2015
Adrian Lester will reprise his role as Ira Aldridge.

A côté d'Adrian Lester (Ira Aldridge) déjà annoncé, le cast sera constitué de: Ayesha Antoine (Connie), Simon Chandler (Bernard Warde/Terence), Alexander Cobb (Henry Forrester/Casimir), Mark Edel-Hunt (Charles Kean), Emun Elliott (Pierre Laporte), Charlotte Lucas (Ellen Tree), Caroline Martin (Halina Wozniak/Margaret Aldridge), Amy Morgan (Betty Lovell).

Critique de "Harlequinade - All On Her Own"

 Londres (Angleterre)
 Garrick Theatre  
 ** Hors DB Theatre  
 Publié le 09 nov. 2015
La presse est bonne pour ce spectacle:   

Critique de "The Winter's Tale"

 Londres (Angleterre)
 Garrick Theatre  
 Winter's tale (The)  
 Publié le 09 nov. 2015
La presse est bonne pour ce spectacle:   

La presse de "Twelve angry men" au Garrick Theatre

 Londres (Angleterre)
 Garrick Theatre  
 Twelve angry Men  
 Publié le 12 nov. 2013
Jane Shilling for Daily Telegraph / Holly Williams for The Independent / Michael Billington for The Guardian / Patrick Marmion for The Daily Mail / Simon Edge for The Daily Express / Fiona Mountford for The Evening Standard   

Behind the stalls bar there hangs a copy of probably the best-known portrait of the great 18th-century actor David Garrick, depicted by Thomas Gainsborough with a bust of Shakespeare. In the National Portrait Gallery, a stone's throw away to the south of the theatre, hangs a lesser-known work by Sir Joshua Reynolds. In the latter, Garrick, looking well-rounded and avuncular, sits in the garden of his country house by the Thames at Hampton with his devoted wife, Eva (née Violettl) whom he married in 1749 at the age of 32. However, to capture the elusive, multifaceted character of probably the greatest actor of his time, in whose honour the theatre was named, it is necessary to look to Louis-François Roubiliac's plaster bust, also In the keeping of the National Portrait Gallery. Here it is possible to glimpse the 'moving brow and penetrating eye' and to sense the 'shifting passions' born of the energy and versatility that marked Garrick out from his contemporaries.
The southern end of Charing Cross Road was created during the mid-1880s by widening what was then Castle Street, and by demolishing a considerable number of small buildings in order to achieve the sweep round the back of the National Gallery Into Trafalgar Square. A particularly large and dominating victim of the demolitions was St Martin’s Workhouse, which stood on the site now occupied by the National Portrait Gallery.
Always astute, it was W. S. Gilbert (of Gilbert and Sullivan fame) who, notwithstanding the irregular shape of the site, leased It from the Metropolitan Board of Works, commissioning architect Walter Emden to design a theatre for actor-manager John Hare. It appears to have been Emden who was responsible for the basic layout of the building, but, possibly as a result of his recent successful work on the equally irregular Lyric Theatre site in Shaftesbury Avenue, it was C. J. Phipps who was brought in to ‘run the job’.
The auditorium is orientated north-south, and runs parallel to Charing Cross Road behind an articulated screen wall, the main entrance vestibule and foyer being at the northern end. Adjacent to the theatre entrance, now under a modern glazed canopy, is a wide, gated access, allowing the pit and gallery audience to queue away from the public thoroughfare. The Builder magazine, marking the opening of the theatre on 24 April 1889, remarked that Architectural art In the true sense seems to have been kept at a safe distance,’ but this was perhaps somewhat unfair; certainly the balanced, now partially painted, Bath stone façade set on a rusticated and channelled Portland-stone podium is an eclectic classical composition of considerable merit.
Above the main entrance is a Corinthian colonnade and open loggia now fronting the upper- circle bar, while the screen wall further south is enriched by piiastered semi-circular headed bays.
The auditorium, in a free Italian Renaissance style, retains most of its original features and is arranged on a 'U' plan. The decoration appears to adhere fairly closely to the original colours of cream and gold, with the accent on a generous amount of gold highlighting. The walls to the rear of the auditorium are hung in deep red, vertically striped paper, probably shades darker than would originally have been in place, but effective nevertheless. The quality of the decoration extends to the foyer, with Its Adamesque plasterwork, and to the upper-circle bar, likewise decorated in a mid-18th-century manner.
John Hare appeared with Forbes-Robertson in the theatre’s first production, Pinero's The Profligate, and went on to make regular appearances with considerable success. Following Hare’s retirement in 1896, the theatre came under the management of Harry Brickwell and then passed into the hands of Arthur Bourchier, who immortalized his name by refusing access to The Times' drama critic in 1903. In 1934 an attempt to revive music hall came to nothing, but the following year Love on the Dole, with Wendy Hiller, revived the theatre's fortunes. In the years after the Second World War many great theatrical names were associated with the Garrick, including Jack Buchanan, Beatrice Lillie, Laurence Olivier, Rita Tushlngham and Brian Rix.

Named after the great 18th-century actor David Garrick - 1889. Designed for W. S. Gilbert by Waiter Emden and C. J. Phipps - Statutorily Listed Historic Building: Grade II*.

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Infos complémentaires:

The Stalls are divided strangely into three blocks, with two half aisles creating a lower back and right section. The rows fan out, starting with short rows, leading back to the wider auditorium. The section feels deep, and the rear stalls are distant from the action and heavily restricted. The best seats are in the front section, from row AA-L, as central as possible. There is a slight rake throughout meaning that views can be seen over the heads in front, but this is reduced towards the rear. The overhang from the Dress Circle occurs at row M and begins to immediately affect the view of those sat further back. The section feels very dark and overall restricted.

Pillars are the main problem in this section creating many restricted view seats. Pillars occur in the middle of Row S and Row N, creating many problems for those sat in the rear house right section. The pillars remain in constant view, although how much they restrict depends on the section. For a pillar free view, aim to sit as centrally as possible. From row M-X the central section is very narrow, and the action become framed by pillars towards the front. Choose side seats in rows AA-L before anything else further back. Legroom is very tight in this section with little room to shuffle past.

The Dress Circle is at ground level and accessible from the main foyer. All seats follow the rather deep curve of the balcony, meaning seats on the end of each row become restricted. The section is wider than it is deep and feels very close to the stage and the action. Avoid the last three seats of each row as these provide a side on view to the stage.

The overhang from the Upper Circle begins at row B, cutting off the top of the stage for the back three rows. This is often not too much of a restriction, and better than the view in the Stalls. Two pillars in the back row reduce the legroom of some seats, but do not affect the overall view. There is no safety rail running across the balcony, so no immediate obstructions from this section.

The Upper Circle is divided into two blocks by a wide central aisle. The seats are well raked and provide good view altogether of the space. The section does not feel particularly high and you do feel close to the stage.

The biggest restriction is again the curve of the balcony, as seats at the end of each row should be avoided as they do not provide a straight-on view of the stage. Boxes are again restricted as they look across the stage rather than directly at it.

The Bath and Portland stone screen wall to Charing Cross Road - Interior, including foyer, auditorium and upper-circle bar - Good original entrance doors.

Orlando

[25 nov. 22 - 25 févr. 23]

Mind Mangler: Member of the Tragic Circle

[15 janv. 23 - 26 mars 23]

Bonnie and Clyde

[04 mars 23 - 20 mai 23]

Musical
Revival

1) Bonnie and Clyde (Revival)

Joué durant  2 mois 2 semaines

Première preview: sam. 04 mars 2023
Première: sam. 04 mars 2023
Dernière: sam. 20 mai 2023

Compositeur: Frank Wildhorn •  
Parolier: Don Black •  
Libettiste: Ivan Menchell •  
Metteur en scène: Nick Winston •  
Chorégraphe:  
Avec: Frances Mayli McCann, Jordan Luke Cage 


Commentaire:   


Presse:

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Théâtre
UK Tour

2) Mind Mangler: Member of the Tragic Circle (UK Tour)

Joué durant  2 mois 1 semaine

Première preview: dim. 15 janvier 2023
Première: dim. 15 janvier 2023
Dernière: dim. 26 mars 2023

Compositeur: *** Divers •  
Parolier: *** Divers •  
Libettiste: *** Divers •  
Metteur en scène:  
Chorégraphe:  
Avec: Henry Lewis 


Commentaire:   


Presse:

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Théâtre
Original

1) Orlando (Original)

Joué durant  3 mois

Première preview: ven. 25 novembre 2022
Première: sam. 26 novembre 2022
Dernière: sam. 25 février 2023

Compositeur: *** Divers •  
Parolier: *** Divers •  
Libettiste: *** Divers •  
Metteur en scène: Michael Grandage •  
Chorégraphe:  
Avec: Emma Corrin (Orlando), Deborah Findlay (Mrs Grimsditch), Jessica Alade (Virginia / Drunken Tory), Deba Baker (Virginia / Favilla / The Captain), Akuc Bol (Virginia / Euphrosyne / Prue), Lucy Briers (Virginia / Queen Elizabeth / Officer), Richard Cant (Virginia / Harriet / Kitty), Melissa Lowe (Virginia / Drunken Tory), Jodie McNee (Virginia / Marmaduke), Oliver Wickham (Virginia / Clorinda), Millicent Wong (Virginia / Sasha / Nell) 


Commentaire:   


Presse:

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Musical
Original

38) Drifters Girl (The) (Original)

Joué durant  1 an 11 mois 4 semaines

Première preview: jeu. 01 octobre 2020
Première: jeu. 22 octobre 2020
Dernière: sam. 15 octobre 2022

Compositeur:  
Parolier:  
Libettiste: Ed Curtis •  
Metteur en scène: Jonathan Church •  
Chorégraphe: Karen Bruce •  
Avec:  


Commentaire: The Queen of British Soul and West End leading lady BEVERLEY KNIGHT stars in the world premiere of a brand new musical - THE DRIFTERS GIRL.  (plus) 


Presse:

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Musical
West End Transfer

37) City of Angel (West End Transfer)

Joué durant  5 mois 2 semaines

Première preview: sam. 07 mars 2020
Première: mar. 24 mars 2020
Dernière: sam. 05 septembre 2020

Compositeur: Cy Coleman •  
Parolier: David Zippel •  
Libettiste: Larry Gelbart •  
Metteur en scène: Josie Rourke •  
Chorégraphe:  
Avec: Rosalie Craig, Hadley Fraser, Rebecca Trehearn, Vanessa Williams, Marc Elliott, Nick Cavaliere, Adam Fogarty, Mark Penfold, Rob Houchen, Joshua St Clair, Cindy Bellot, Sadie-Jean Shirley, Manuel Pacific, Ryan Reid. 


Commentaire: The Donmar Warehouse's production of City of Angels, directed by Josie Rourke, is set to transfer to the Garrick Theatre in March 2020 starring Rosalie Craig and Hadley Fraser reprising their roles alongside Rebecca Trehearn and Vanessa Williams.  (plus) 


Presse:

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Musical
Original

36) Fermeture COVID (Original)

Joué durant  1 an 4 mois

Première preview: lun. 16 mars 2020
Première: lun. 16 mars 2020
Dernière: lun. 19 juillet 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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Théâtre
West End Transfer

35) Frank Skinner - Showbiz (West End Transfer)

Joué durant  1 mois

Première preview: lun. 13 janvier 2020
Première: lun. 13 janvier 2020
Dernière: sam. 15 février 2020

Compositeur: *** Divers •  
Parolier: *** Divers •  
Libettiste: *** Divers •  
Metteur en scène:  
Chorégraphe:  
Avec: Frank Skinner. 


Commentaire: Following a sold out 2019 national tour, comedy legend Frank Skinner is bringing his critically acclaimed stand-up show Showbiz to the West End for a strictly limited five week run. The last twelve months have seen Frank perform sold-out runs at both London’s Leicester Square Theatre and the Edinburgh Fringe, making this the must-see comedy event of the new year.  (plus) 


Presse:

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Théâtre
West End Transfer

34) Noises Off (West End Transfer)

Joué durant  3 mois

Première preview: ven. 27 septembre 2019
Première: jeu. 03 octobre 2019
Dernière: sam. 04 janvier 2020

Compositeur:  
Parolier:  
Libettiste: Michael Frayn •  
Metteur en scène: Jeremy Herrin •  
Chorégraphe:  
Avec: Meera Syal, Lloyd Owen, Daniel Rigby, Simon Rouse, Sarah Hadland, Richard Henders, Lisa McGrillis, Anjli Mohindra, Adrian Richards 


Commentaire: Michael Frayn's hilarious comedy Noises Off returns to the West End as Jeremy Herrin's side-splitting revival transfers to the West End from the Lyric Hammersmith, where it premiered in 1982.  (plus) 


Presse:

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Théâtre
Revival

33) Bitter Wheat (Revival)

Joué durant  3 mois

Première preview: ven. 07 juin 2019
Première: mer. 19 juin 2019
Dernière: sam. 21 septembre 2019

Compositeur: *** Divers •  
Parolier: *** Divers •  
Libettiste: *** Divers •  
Metteur en scène: David Mamet •  
Chorégraphe:  
Avec: John Malkovich, Doon Mackichan, Ioanna Kimbook, Alexander Arnold, Teddy Kempner, Matthew Pidgeon and Zephryn Taitte. 


Commentaire: John Malkovich will make his first London stage appearance in almost 30 years in Bitter Wheat.
The play premiered in London at the Royal Court in 1993 directed by Harold Pinter and starring Lia Williams and David Suchet.  (plus) 


Presse:

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Divertissement
West End Transfer

32) Rip It Up (West End Transfer)

Joué durant  3 mois 3 semaines

Première preview: jeu. 07 février 2019
Première: jeu. 07 février 2019
Dernière: dim. 02 juin 2019

Compositeur: *** Divers •  
Parolier: *** Divers •  
Libettiste: *** Divers •  
Metteur en scène: Gareth Walker •  
Chorégraphe:  
Avec: Harry Judd, Louis Smith, Jay McGuiness, Aston Merrygold, Cavin Cornwall, Jill Marie Cooper, Scott Coldwell, Charlie Bruce, Gracie Cinque-White, Faye Huddleston, Tanya Foy, Veronica Fulton, Rose Wild, Courtenay Brady, Kate Thompson, Veronica Fulton, Adam Paul-Robertson, Anthony Brant, Andrew McCormack, Simon Lea, Diego Rodriquez. 


Commentaire: Rip It Up, an exciting show celebrating the best of the 1960s, stars the ultimate Strictly boy band of dance bring in a spectacular show in the heart of the West End.  (plus) 


Presse:

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Théâtre
Revival

31) Macbeth (Revival)

Joué durant  2 semaines

Première preview: mar. 20 novembre 2018
Première: mar. 20 novembre 2018
Dernière: ven. 07 décembre 2018

Compositeur:  
Parolier:  
Libettiste: William Shakespeare •  
Metteur en scène: Natasha Nixon •  
Chorégraphe:  
Avec:  


Commentaire: The National Youth Theatre present a brand new gender fluid adaptation of Shakespeare’s sinister tale of greed, betrayal and revenge by NYT Alumna Moira Buffini (wonder.land, Handbagged).
Performed by the 2018 NYT REP Company, Natasha Nixon’s electric production explores the gender politics and human struggle which spark triumphant Macbeth’s infamous and catastrophic downfall.  (plus) 


Presse: "Potent brew of monstrous majesty and sexual twists” - The Guardian
"A wildly eclectic fever dream" - The Stage
"Brimming with the future stars of theatre" - A Younger Theatre
"The best Macbeth I've ever seen" - Sardines Magazine
"Engaging, energetic and enthralling" - LondonTheatre1 ★★★★
"Fresh and pacey" - Theatre-News.com ★★★★

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Théâtre
West End Transfer

30) Don Quixote (West End Transfer)

Joué durant  3 mois 1 semaine

Première preview: sam. 27 octobre 2018
Première: sam. 27 octobre 2018
Dernière: sam. 02 février 2019

Compositeur: *** Divers •  
Parolier: *** Divers •  
Libettiste: *** Divers •  
Metteur en scène: Angus Jackson •  
Chorégraphe:  
Avec: David Threlfall (Don Quixote), Rufus Hound (Sancho Panza), Will Bliss, Raphael Bushay, Farrell Cox, John Cummins, Richard Dempsey, Ruth Everett, Gabriel Fleary, Richard Leeming, Nicholas Lumley, Natasha Magigi, Tom McCall, Joshua McCord, Bathsheba Piepe, Rosa Robson, Timothy Speyer, Eleanor Wyld. 


Commentaire: Following its sell-out run at the Swan Theatre in Stratford-upon-Avon in 2016 to mark the 400th anniversary of Cervantes' death, our 'joyous' (Guardian) production of the legendary comic novel is told by a company of 20 actors accompanied by a band of live musicians.

Adapted for the stage by James Fenton (The Orphan of Zhao, 2012) and directed by Angus Jackson (Oppenheimer, 2014) this 'boisterous romp' (The Times) transfers to London's Garrick Theatre for a strictly limited fourteen-week season from 27 October.  (plus) 


Presse:

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Musical
Original London

29) Young Frankenstein (Original London)

Joué durant  10 mois 2 semaines

Première preview: jeu. 28 septembre 2017
Première: mar. 10 octobre 2017
Dernière: sam. 25 août 2018

Compositeur: Mel Brooks •  
Parolier: Mel Brooks •  
Libettiste: Mel Brooks •  
Metteur en scène: Susan Stroman •  
Chorégraphe: Susan Stroman •  
Avec: Hadley Fraser (Dr Frederik Frankenstein), Ross Noble (Igor), Lesley Joseph (Frau Blucher), Dianne Pilkington, Summer Strallen, Patrick Clancy, Imogen Brooke, Matt Crandon, Nathan Elwick, Kelly Ewins-Prouse, Andrew Gordon-Watkins, Sammy Kelly, Richard Pitt, Harriet Samuel-Gray, Gemma Scholes, Emily Squibb, Aron Wild and Josh Wilmott 


Commentaire: Young Frankenstein arrives in London's West End where it will include new dialogue and songs written by Brooks following the original Broadway production after a pre-West End tryout at the Theatre Royal Newcastle from Saturday 26 August to Saturday 9 September,  (plus) 


Presse:

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Théâtre

28) Gangsta Granny ()

Joué durant  1 mois 1 semaine

Première preview: mer. 26 juillet 2017
Première: mer. 26 juillet 2017
Dernière: dim. 03 septembre 2017

Compositeur: *** Divers •  
Parolier: *** Divers •  
Libettiste: *** Divers •  
Metteur en scène: Neal Foster •  
Chorégraphe:  
Avec: Gilly Tompkins (Granny), Ashley Cousins (Ben), Louise Bailey (Mum/Queen), Ben Martin (Dad), Umar Malik (Raj), Alison Fitzjohn (Matron), Richard James (Doctor), Liz Garland (Ensemble/Female Understudy), Aaron Thiara (Emsemble/Male Understudy) 


Commentaire: Presented by Birmingham Stage Company, the adaptation by Neal Foster comes from the company at the helm of the ever-popular Horrible Histories Barmy Britain series, which recently played a season at the Garrick Theatre. The West End debut of Walliams’ story premieres at the Garrick Theatre on July 26th, with an official press night on August 1st. Gangsta Granny is set to run until September 3rd 2017.  (plus) 


Presse:

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Spectacle
Revival

27) Tape Face (Revival)

Joué durant  1 mois 2 semaines

Première preview: mar. 06 juin 2017
Première: mar. 06 juin 2017
Dernière: sam. 22 juillet 2017

Compositeur: *** Divers •  
Parolier: *** Divers •  
Libettiste: *** Divers •  
Metteur en scène:  
Chorégraphe:  
Avec: Sam Wills 


Commentaire: For 7 weeks only, catch this spectacular modern reimagining of silent comedy at the Garrick Theatre, from the artist formerly known as The Boy with Tape on His Face – finalist of America’s Got Talent 2016 and seen on the Royal Variety Performance and the John Bishop Show. Visually stunning, heart-stopping, and hilarious – you’ll laugh, you’ll cry, and when it’s over you’ll be completely lost for words. Think you’ve seen TAPE FACE? Think again. Following four sold-out UK tours and critical acclaim around the world, don’t miss the chance to be part of the phenomenon in 2017.  (plus) 


Presse:

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Théâtre
Original

26) Miser (The) (Original)

Joué durant  2 mois 3 semaines

Première preview: mer. 01 mars 2017
Première: lun. 13 mars 2017
Dernière: sam. 03 juin 2017

Compositeur: *** Divers •  
Parolier: *** Divers •  
Libettiste: *** Divers •  
Metteur en scène: Sean Foley •  
Chorégraphe:  
Avec: Griff Rhys Jones (Harpagon), Lee Mack 


Commentaire:   


Presse:

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Théâtre
Revival

25) This House (Revival)

Joué durant  2 mois 3 semaines

Première preview: sam. 19 novembre 2016
Première: mer. 30 novembre 2016
Dernière: sam. 25 février 2017

Compositeur: *** Divers •  
Parolier: *** Divers •  
Libettiste: *** Divers •  
Metteur en scène: Jeremy Herrin •  
Chorégraphe:  
Avec: Lauren O'Neil (Ann Taylor), Steffan Rhodri, Kevin Doyle, Phil Daniels, Nathaniel Parker. 


Commentaire: This House previously played two sell-out runs at the National Theatre, first opening at the National’s Cottesloe Theatre in September 2012. This House received unprecedented critical praise and was transferred to the Olivier Theatre for a longer run until May 2013. Now, the Westminster drama embarks on a run at Chichester Festival Theatre before heading into London’s West End.  (plus) 


Presse:

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Théâtre
Revival

24) Entertainer (The) (Revival)

Joué durant  2 mois 2 semaines

Première preview: sam. 20 août 2016
Première: mar. 30 août 2016
Dernière: sam. 12 novembre 2016

Compositeur: *** Divers •  
Parolier: *** Divers •  
Libettiste: *** Divers •  
Metteur en scène: Rob Ashford •  
Chorégraphe:  
Avec: Kenneth Branagh (Arcie Rice) 


Commentaire: Part of The Kenneth Branagh Theatre Company Season  (plus) 


Presse:

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Théâtre
Revival

23) Romeo and Juliet (Revival)

Joué durant  2 mois 2 semaines

Première preview: jeu. 12 mai 2016
Première: mer. 25 mai 2016
Dernière: sam. 13 août 2016

Compositeur:  
Parolier:  
Libettiste: William Shakespeare •  
Metteur en scène: Kenneth Branagh •  
Chorégraphe:  
Avec: Richard Madden (Romeo), Lily James (Juliet), Derek Jacobi (Mercutio), Meera Syal (Nurse), Marisa Berenson (Lady Capulet), Jack Colgrave Hirst (Benvolio), Tom Hanson (Paris), Matthew Hawksley (Anthony), Taylor James (Prince), Ansu Kabia (Tybalt), Racheal Ofori (Potpan), Nikki Patel (Balthasar), Chris Porter (Lord Montague), Zoe Rainey (Lady Montague), Michael Rouse (Lord Capulet), Sam Valentine (Friar Laurence), Kathryn Wilder (Peta/Apothecary) 


Commentaire: Part of The Kenneth Branagh Theatre Company Season  (plus) 


Presse: "There’s a lot of collective weeping and wailing to establish the ominous mood, but also a swiftly counterpoised gaiety and coutured sophistication." Dominic Cavendish for The Telegraph

"The action is set in 1950s Verona, and it’s mucho, mucho Italiano: there’s a lot of clichéd “ciao”-ing and stereotype-trading matriarchal shouting. But it also proves an effective backdrop: there’s a whiff of Mafia machismo, a sense that la dolce vita is undercut with an ever-present threat of violence." Holly Williams for The Independent

"The whole thing is done with a speed and vigour that ensures we are never bored; and if I generally preferred the first half to the second, that is because Shakespeare’s tragedy itself depends too much on chance and the faulty Italian postal service." Michael Billington for The Guardian

"Though it is stylish, accessible and illuminated by Lily James, it misses the passionate intensity of the tragedy." Henry Hitchings for The Evening Standard

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Théâtre
Revival

22) Painkiller (The) (Revival)

Joué durant  1 mois 1 semaine

Première preview: sam. 05 mars 2016
Première: jeu. 17 mars 2016
Dernière: sam. 30 avril 2016

Compositeur: *** Divers •  
Parolier: *** Divers •  
Libettiste: *** Divers •  
Metteur en scène: Sean Foley •  
Chorégraphe:  
Avec: Kenneth Branagh, Rob Brydon 


Commentaire: Part of The Kenneth Branagh Theatre Company Season  (plus) 


Presse:

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Théâtre
Original

21) Red Velvet (Original)

Joué durant  3 semaines

Première preview: sam. 23 janvier 2016
Première: lun. 01 février 2016
Dernière: sam. 27 février 2016

Compositeur: *** Divers •  
Parolier: *** Divers •  
Libettiste: *** Divers •  
Metteur en scène: Indhu Rubasingham •  
Chorégraphe:  
Avec: Adrian Lester (Ira Aldridge), Ayesha Antoine (Connie), Simon Chandler (Bernard Warde/Terence), Alexander Cobb (Henry Forrester/Casimir), Mark Edel-Hunt (Charles Kean), Emun Elliott (Pierre Laporte), Charlotte Lucas (Ellen Tree), Caroline Martin (Halina Wozniak/Margaret Aldridge), Amy Morgan (Betty Lovell) 


Commentaire:   


Presse:

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Théâtre
Revival

20) Winter's tale (The) (Revival)

Joué durant  2 mois 1 semaine

Première preview: sam. 17 octobre 2015
Première: sam. 07 novembre 2015
Dernière: sam. 16 janvier 2016

Compositeur:  
Parolier:  
Libettiste: William Shakespeare •  
Metteur en scène: Rob Ashford • Kenneth Branagh •  
Chorégraphe:  
Avec: Kenneth Branagh (Leontes), Judi Dench (Paulina), Tom Bateman (Florizel), Jessie Buckley (Perdita), Jack Colgrave Hirst (The Clown), Hadley Fraser (Polixenes), Michael Pennington (Antigonus), Zoe Rainey (Emilia), Miranda Raison (Hermione), John Shrapnel (Camillo), Kathryn Wilder (Mopsa), Jimmy Yuil (Shepherd), John Dagleish (Autolycus) 


Commentaire: Part of The Kenneth Branagh Theatre Company Season.  (plus) 


Presse: "Branagh gives an extraordinarily searching portrayal of Leontes, the Sicilian king seized with baseless suspicion that his wife and bosom friend are having an affair... A red-letter day for theatre lovers." Paul Taylor for The Independent

"Although this production ends, unfashionably, in unequivocal forgiveness, it is not afraid to hint at the darker elements in Shakespeare’s fable. Branagh and Dench are surrounded by a first-rate team." Michael Billington for The Guardian

"At the interval I was a little underwhelmed but the second half opens with Dame Judi giving us silvery Time’s speech about the passage of 16 seasons. Her cadences are hypnotic." Quentin Letts for The Daily Mail

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Théâtre
Revival

19) Harlequinade (1949)/All On Her Own (Revival)

Joué durant  2 mois 1 semaine

Première preview: sam. 24 octobre 2015
Première: sam. 07 novembre 2015
Dernière: mer. 13 janvier 2016

Compositeur: *** Divers •  
Parolier: *** Divers •  
Libettiste: *** Divers •  
Metteur en scène: Rob Ashford • Kenneth Branagh •  
Chorégraphe:  
Avec: Harlequinade: Kenneth Branagh (Arthur Gosport), Zoe Wanamaker (Dame Maud), Tom Bateman (Jack Wakefield), Jessie Buckley (Muriel Palmer), Jack Colgrave Hirst (Tom Palmer), Hadley Fraser (First Halberdier), Miranda Raison (Edna Selby), John Shrapnel (George Chudleigh), Kathryn Wilder (Joyce Langland), Jimmy Yuill (Mr Burton), John Dagleish
All On Her Own: Zoe Wanamaker 


Commentaire: Harlequinade will play in repertory with The Winter's Tale. Part of The Kenneth Branagh Theatre Company Season  (plus) 


Presse: "Wanamaker, who, in the monologue All On Her Own, brings a brilliant, layered depth to the role of the newly widowed woman who hits the whisky and pay dirt as she talks to the departed husband who may or may not have killed himself." Paul Taylor for The Independent

"Harlequinade: It’s hardly major Rattigan but it shows actors delightedly sending up a happily vanished theatrical world. All On Her Own: Wanamaker, sprawled over a sofa in humiliating self-abasement, performs the piece with a soul-baring virtuosity that transcends the material and confirms that the Branagh season is devoted to actors." Michael Billington for The Guardian

"Harlequinade: Slight and appealingly silly piece. All On Her Own: [Zoë Wanamaker's] performance is at once fierce and melancholy — finely judged and genuinely sad." Henry Hitchings for The Evening Standard

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Musical
Revival

18) Let it be (Revival)

Joué durant  6 mois 1 semaine

Première preview: sam. 28 février 2015
Première: sam. 28 février 2015
Dernière: sam. 05 septembre 2015

Compositeur:  
Parolier:  
Libettiste:  
Metteur en scène: John Maher •  
Chorégraphe:  
Avec:  


Commentaire: Troisième reprise de Let it Be à Londres: créé en septembre 2012 au Prince Of Wales Theatre où il est joué jusqu'en janvier 2013, il est repris en février 2013 au Savoy Theatre jusqu'en février 2014, puis au Garrick, de juillet à septembre 2014.  (plus) 


Presse:

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Musical
West End Transfer

17) Scottsboro Boys (The) (West End Transfer)

Joué durant  4 mois

Première preview: sam. 04 octobre 2014
Première: ven. 24 octobre 2014
Dernière: sam. 21 février 2015

Compositeur: John Kander •  
Parolier: Fred Ebb •  
Libettiste: David Thompson •  
Metteur en scène: Susan Stroman •  
Chorégraphe: Susan Stroman •  
Avec: Brandon Victor Dixon (Haywood Patterson), Colman Domingo (Mr Bones), Forrest McClendon (Mr Tambo), James T Lane (Ozie Powell), Julian Glover (The Interlocutor), Dawn Hope, Dex Lee, Rohan Pinnock-Hamilton, Richard Pitt, Emile Ruddock and Carl Spencer 


Commentaire: Transfert dans le West End de la version jouée au Young Vic.  (plus) 


Presse: "The score doesn’t have the earworm catchiness of Kander and Ebb’s best shows, and dazzles more than it delights. But this is a genuinely radical musical, full of stinging indignation and plaintive power." Lyn Gardner for The Guardian

"Audacious and troubling, it is delivered with brilliant precision here. Tap-dancing through a number about the electric chair, harmonising in a spiritual that slips in a line about lynching, the cast perform with tremendous verve and handle Stroman’s choreography with split-second timing." Sarah Hemming for The Financial Times

"This is a hurtling journey into hell; I urge you to buy a ticket. John Kander and Fred Ebb’s 2010 musical, seen at the Young Vic last year, is a shocking experience — the more so because it is also irresistibly entertaining." Sam Marlowe for The Times

"The music is magnificent, a stirring, period-specific mixture of gospel, jazz and vaudeville. The plaintive lament Go Back Home is especially memorable, but on the whole the songs are jovial and up-tempo in a deliberate undercutting of the seriousness of the storyline." Fiona Mountford for The Evening Standard

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Musical
Revival

16) Let it be (Revival)

Joué durant  2 mois 1 semaine

Première preview: mer. 09 juillet 2014
Première: jeu. 10 juillet 2014
Dernière: sam. 20 septembre 2014

Compositeur:  
Parolier:  
Libettiste:  
Metteur en scène: John Maher •  
Chorégraphe:  
Avec:  


Commentaire: Deuxième reprise de Let it Be à Londres: créé en septembre 2012 au Prince Of Wales Theatre où il est joué jusqu'en janvier 2013, il est repris en février 2013 au Savoy Theatre jusqu'en février 2014. Après cette série au Garrick, Let it Be reviendra pour une seconde série au Garrick de février à septembre 2015.  (plus) 


Presse:

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Spectacle

15) My Life Story - Suggs ()

Joué durant  3 semaines

Première preview: dim. 01 décembre 2013
Première: dim. 01 décembre 2013
Dernière: dim. 22 décembre 2013

Compositeur: *** Divers •  
Parolier: *** Divers •  
Libettiste: *** Divers •  
Metteur en scène:  
Chorégraphe:  
Avec: Suggs 


Commentaire:   


Presse:

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Théâtre
Takarazuka

14) Twelve angry Men (Takarazuka)

Joué durant  7 mois

Première preview: jeu. 07 novembre 2013
Première: lun. 11 novembre 2013
Dernière: sam. 14 juin 2014

Compositeur:  
Parolier:  
Libettiste: Reginald Rose •  
Metteur en scène: Christopher Haydon •  
Chorégraphe:  
Avec: Martin Shaw (Juror 8 - the role made famous by Henry Fonda), Jeff Fahey (Juror 3 - the role originated by screen legend Lee J. Cobb), Nick Moran (Juror 7 - the role that Jack Warden originally played), Robert Vaughn, Luke Shaw , David Calvitto, Paul Antony-Barber, Ed Franklin, Robert Blythe, Miles Richardson , Martin Turner , Owen O'Neil , Jason Riddington 


Commentaire:   


Presse: " ... the drama’s neat, almost sentimental ending ... lingers in the mind long after the last curtain call."
Jane Shilling for Daily Telegraph

"... for all its high stakes and shouting matches, this is a nimble and frequently funny play."
Holly Williams for The Independent

"... gives a vivid impression of the way jurors allow their rooted prejudices and personal hang-ups to influence their verdict."
Michael Billington for The Guardian

"No great surprises, but good stuff and well done."
Patrick Marmion for The Daily Mail

"... with writing this strong it’s a clear case of it ain’t broke so don’t fix it."
Simon Edge for The Daily Express

"The end result is a lot of rather forced pacing about the too-large playing area, which fatally dissipates the tension of confrontation."
Fiona Mountford for The Evening Standard

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Musical
Original London

13) Rock of Ages (Original London)

Joué durant  9 mois 2 semaines

Première preview: ven. 18 janvier 2013
Première: ven. 18 janvier 2013
Dernière: sam. 02 novembre 2013

Compositeur:  
Parolier:  
Libettiste: Chris D’Arienzo •  
Metteur en scène: Kristin Hanggi •  
Chorégraphe: Kelly Devine •  
Avec:  


Commentaire:   


Presse: " This is as unpleasant a pile of theatrical poo as it has ever been my misfortune to tread in. "
Charles Spencer for The Daily Telegraph

"It's a very peculiar show indeed, with an unvarying and unpleasant tone of careless sexualisation."
Michael Hann for the Guardian

"As a feelgood, singalong, rock'n'roll musical it's hard to fault."
Pierre Perrone for the Independent

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Musical
Original London

12) Loserville (Original London)

Joué durant  2 mois 2 semaines

Première preview: lun. 01 octobre 2012
Première: mer. 17 octobre 2012
Dernière: sam. 05 janvier 2013

Compositeur:  
Parolier:  
Libettiste:  
Metteur en scène: Steven Dexter •  
Chorégraphe: Nick Winston •  
Avec:  


Commentaire:   


Presse: "The plot is woolly, and the material seems like a mishmash of moments from every teen romantic comedy I’ve ever seen. But Bourne and Davis are undoubtedly skilful songwriters, and Loserville is likeable even if it’s unsubtle. "
Henry Hitchings for The Evening Standard

"The songs, on a first hearing, all sound more or less the same and are pounded out with bludgeoning loudness in Steven Dexter's soulless production. The cast leap about hyper-actively but, apart from the odd sequence (such as a Judo match between the geeks and the jocks) there is not much charm in all this robotic freneticism."
Paul Taylor for The Independent

"Shows don't get much perkier than this...it carries the message of many an American teen movie - that the geeks will triumph in the end - but it's also knowing and sprinkled with humour which makes it rather endearing. "
Julie Carpenter for The Daily Express

"With its rudimentary plot and forgettable tunes, this musical is an unrewarding experience."
Ian Shuttleworth for The Financial Times

"As bubblegum musicals go, it's worth a pop."
Robert Shore for The Metro

"Steven Dexter’s cartoon-like production is relentlessly and brash and for much of the evening I found myself gazing longingly at the exit sign, desperate to escape this derivative pop-culture pap. The one thing that can be said in Loserville’s favour is that its off-putting title tells you all you need to know about the show."
Charles Spencer for The Daily Telegraph

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Musical
Revival

11) Chicago (Revival)

Joué durant  9 mois 4 semaines

Première preview: lun. 07 novembre 2011
Première: lun. 07 novembre 2011
Dernière: sam. 01 septembre 2012

Compositeur: John Kander •  
Parolier: Fred Ebb •  
Libettiste: Fred Ebb •  
Metteur en scène: Walter Bobbie •  
Chorégraphe: Ann Reinking •  
Avec:  


Commentaire:   


Presse:

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Musical
Original London

10) All the Fun of the Fair (Original London)

Joué durant  4 mois 1 semaine

Première preview: mar. 20 avril 2010
Première: mer. 28 avril 2010
Dernière: sam. 04 septembre 2010

Compositeur: David Essex •  
Parolier: David Essex •  
Libettiste: Jon Conway •  
Metteur en scène: David Gilmore •  
Chorégraphe:  
Avec: David Essex (Levi Lee), Christopher Timothy (Harvey), Louise English (Rosa), Michael Pickering (Jack), Nicola Brazil (Alice), Cameron Jack (Druid), Susan Hallam-Wright (Mary), Chris Holland (Kipper), Kieran Jae (Scotty), Tom Kanavan (Spiv), Tim Newman (Slow Jonny), Robert Rees (Chris), Emily Tierney (Sally), Tricia Adele Turner (Laura), Shona White (Rita) , Danielle York (Maisy). 


Commentaire: This jukebox musical based on the songs of David Essex (plot is fictional, not autobiographical) began with a five month provincial tour and transferred to the West End in April 2010 for a limited season, ending September 2010. A second provincial tour ran from October 2011 to April 2012.  (plus) 


Presse: "Enjoyably scrappy, over-earnest but likeable new musical." Mark Shenton for The Stage

"It’s always cheering to see a lovable, daft musical in the West End and this compilation offering based around the greatest hits of Seventies pop star David Essex certainly fits the bill." Fiona Mountford for The Evening Standard

"You often feel like humming harmlessly along." Benedict Nightingale for The Times

"Enjoyable production...This is a long way from being a great musical but with its mixture of seedy charm and sudden moments of menace and emotional pain, All the Fun of the Fair is well worth a spin." Charles Spencer for The Daily Telegraph

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Musical
Revival

9) A Little Night Music (Revival)

Joué durant  3 mois 2 semaines

Première preview: sam. 28 mars 2009
Première: mar. 07 avril 2009
Dernière: sam. 25 juillet 2009

Compositeur: Stephen Sondheim •  
Parolier: Stephen Sondheim •  
Libettiste: Hugh Wheeler •  
Metteur en scène: Trevor Nunn •  
Chorégraphe: Lynn Page •  
Avec: Mr. Lindquist - Lynden Edwards / Mrs. Nordstrom - Fiona Dunn / Mrs. Anderssen - Laura Armstrong / Mr. Erlanson - John Addison / Mrs. Segstrom - Nicola Sloane / Fredrika Armfeldt - Grace Link, Holly Halam (alternating) / Madame Armfeldt - Maureen Lipman / Frid, her butler - Andy Morton / Henrik Egerman - Gabriel Vick / Anne Egerman - Jessie Buckley / Fredrik Egerman - Alexander Hanson / Petra - Kaisa Hammarlund / Desiree Armfeldt - Hannah Waddingham / Count Carl-Magnus Malcom - Alistair Robins / Countess Charlotte Malcom - Kelly Price 


Commentaire: Reprise de la version Litlle Night Music (A) (2008-11-Chocolate Factory-London)
This critically acclaimed production earned special praise for the Lady Bracknell type performance from Maureen Lipman, but above all for Hannah Waddingham’s outstanding portrayal. The role of Desirée had earlier been played by older actresses with the consequent ageing of all the other characters around her. The original Desirée should have been no more than 40, with a 14 year old daughter – and this was ideal casting for Hannah Waddingham and added new depth to the story. Including previews, the London production gave some 226 performances. This same production transferred to Broadway, officially opening on December 13 th 2009 with Angela Lansbury as Madame Armfeldt and, in her Broadway debut, Catherine Zeta-Jones as Desirée. (Catherine won the Tony Award for the Best Leading Actress in a Musical, and on the same weekend of the Tony Awards it was announced she had been awarded a CBE for her charity work.) The Broadway production closed temporarily on June 20, 2010 when the original contracts ran out, but reopened on July 13, with Bernadette Peters as Desirée and Elaine Stritch as Madame Armfeldt. When the production finally closed on January 9, 2011 it had played 425 performances (plus 20 previews).  (plus) 


Presse: NICHOLAS DE JONGH for THE EVENING STANDARD says, "On transfer to the West End, A Little Night Music leaves me far less than enraptured." MICHAEL BILLINGTON for THE GUARDIAN says, "Delicious production...an evening of refined enchantment." SAM MARLOWE for THE TIMES says, "While at its finest Nunn’s production has needle-sharp poignancy, the comedy that accompanies the pain is sometimes too broad...It’s not a rendering that never puts a foot wrong; but when it’s in step with Sondheim’s masterly music it’s sheer elegance." CHARLES SPENCER for THE DAILY TELEGRAPH says, "I found myself almost continually entranced...It's a fine production of a musical that only misses greatness by a whisker."

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Musical
Original London

8) Zorro (Original London)

Joué durant  8 mois

Nb de représentations: 279 représentations
Première preview: mer. 02 juillet 2008
Première: mar. 15 juillet 2008
Dernière: sam. 14 mars 2009

Compositeur: Gypsy Kings •  
Parolier: Stephen Clark •  
Libettiste: Stephen Clark •  
Metteur en scène: Christopher Renshaw •  
Chorégraphe: Rafael Amargo •  
Avec: Matt Rawle (Don Diego/Zorro), esli Margherita (Inez), Adam Levy (Ramon), Jonathan Newth (Don Alejandro), Nick Cavaliere (Sgt. Garcia), Emma Williams (Luisa) 


Commentaire: It opened with a short try-out tour, but even so, its first London preview dates were cancelled due to technical problems. By the time of the official opening the show received almost entirely favourable reviews. Its flashy fight scenes, flying scenes, magical disappearances and camp tongue-in-cheek story was described as a “mix of Errol Flynn and Monty Python” making “an insanely enjoyable musical”. The flamenco dancing was a great hit. According to Quentin Letts in the Daily Mail “Blimey, the flamenco! There can’t have been this much foot-stamping since Elton John split from Bernie Taupin”. It ran until March 14 th 2009, and then proceeded to be performed in many different countries, winning many awards, and taking over $75 million dollars at the box office.  (plus) 


Presse: NICHOLAS DE JONGH for THE EVENING STANDARD says, "Dynamically choreographed musical...A truly highflying musical."
RHODA KOENIG for THE INDEPENDENT says, "Cynical corporate product."
MICHAEL BILLINGTON for THE GUARDIAN says, "Thoroughly enjoyable musical."
BENEDICT NIGHTINGALE for THE TIMES says, "It’s nonsense, but quite agreeable nonsense...Zorro is fun, but not as much fun as all that."
CHARLES SPENCER for THE DAILY TELEGRAPH says, "this almost insanely enjoyable musical, with a fabulous score of stamping flamenco, tavern choruses and tender love songs by the Gipsy Kings, looks like the surprise hit of the summer."

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Musical
Original London

7) Peter Pan - El Musical (Original London)

Joué durant  3 semaines

Première preview: ven. 28 mars 2008
Première: lun. 31 mars 2008
Dernière: dim. 27 avril 2008

Compositeur: Cesar Constanti • Pablo Pinilla •  
Parolier: Cesar Constanti • Pablo Pinilla •  
Libettiste: J.M. Barrie •  
Metteur en scène: Cristina Farga •  
Chorégraphe: Lamberto Garcia •  
Avec: Miguel Antelo (Peter Pan), Isabel Malavia (Wendy), Miguel Angel Gamero (Sr Darling/Captain Hook ), Cristina Fargas (Sra Darling, Narradora), Rafel Brunet (John), Isabel Alfonso (Michael), Pedro Espades (Smee) 


Commentaire: This Spanish language production had run for more than a thousand performances in Spain and been seen by more than a million people. The starring role of Peter was played by Miguel Antelo, Spain’s most successful pop star. However, with the audience being asked to sing-along (in Spanish!) “Hay que creer in hadas” (“You have to believe in fairies”), and flying scenes conducted almost entirely in the dark, this London production was universally derided by the critics. The reaction to the show with its “dodgy surtitles” was summed up by Charles Spencer in the Daily Telegraph: “To die, Peter Pan famously declared, will be an awfully big adventure. I wouldn’t go that far myself, but it seems infinitely preferable to sitting through this dismal Spanish production. . . one of the most lamentable evenings I have ever endured in a West End Theatre.  (plus) 


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Musical
Original

6) Bad Girls: The Musical (Original)

Joué durant  2 mois

Nb de preview: 30 previews
Nb de représentations: 77 représentations
Première preview: jeu. 16 août 2007
Première: mer. 12 septembre 2007
Dernière: sam. 17 novembre 2007

Compositeur: Kath Gotts •  
Parolier: Kath Gotts •  
Libettiste: Ann McManus • Maureen Chadwick •  
Metteur en scène: Christopher Lane •  
Chorégraphe: Lynn Page •  
Avec: David Burt ( Jim Fenner), Laura Rogers (Helen Stewart), Nicole Farady (Shell), Caroline Head (Nikki Wade), Emily Aston ( Rachel Hicks), Sally Dexter (Yvonne), Helen Fraser (Sylvia “Bodybag”Hollamby), Julie Jupp (Julie Saunders) , Rebecca Wheatley (Julie Johnson ), Camilla Beeput (Crystal), Maria Charles (Noreen Biggs), Amanda Posener (Denny Blood) 


Commentaire: It had opened at the West Yorkshire Playhouse in 2006, and was simply so outlandish, over-the-top, filled with parody songs and spoof routines, that it was welcomed as a very funny piece of glorious bad taste with some clever songs and lyrics. However, it did not catch on with the general public. After a two month run, it closed on November 17 th having played 77 performances and some 30 previews.  (plus) 


Presse: NICHOLAS DE JONGH for THE EVENING STANDARD says, "Offers authentic pleasure to those of us who enjoy serious issues camped up to melodrama level while plot-lines and characters scale the heights of absurdity."
IAN SHUTTLEWORTH for THE FINANCIAL TIMES says, "The series may have, as an academic claims in the programme, astutely mixed entertainment with message; this stage musical neither achieves nor even attempts any such blend. "
MICHAEL BILLINGTON for THE GUARDIAN says, "Though the piece is preposterous hokum, the show is put across with enormous zest."
CHARLES SPENCER for THE DAILY TELEGRAPH says, "A hell of a lot of fun."
BENEDICT NIGHTINGALE for THE TIMES says, "An enjoyable piece of sentimental melodrama and even has a little bite in its dramatic dentures."

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Musical
Original

5) Side by Side by Sondheim (Original)

Joué durant  6 mois 3 semaines

Nb de représentations: 229 représentations
Première preview: lun. 03 octobre 1977
Première: lun. 03 octobre 1977
Dernière: sam. 29 avril 1978

Compositeur: Jule Styne • Leonard Bernstein • Richard Rodgers • Stephen Sondheim •  
Parolier: Stephen Sondheim •  
Libettiste: *** Divers •  
Metteur en scène: Ned Sherrin •  
Chorégraphe:  
Avec:  


Commentaire: Opened May 4, 1976 at the Mermaid Theatre, London Ran for 59 performances
Moved July 7, 1976 to the Wyndham's Theatre, London Ran for 518 performances
Moved October 3, 1977 to the Garrick Theatre, London Closed April 29, 1978; Ran for 229 performances  (plus) 


Presse:

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Musical
West End Transfer

4) Fings Ain't Wot They Used T'Be (West End Transfer)

Joué durant  

Nb de représentations: 897 représentations
Première preview: jeu. 11 février 1960
Première: jeu. 11 février 1960
Dernière: Inconnu

Compositeur: Lionel Bart •  
Parolier: Lionel Bart •  
Libettiste: Frank Norman •  
Metteur en scène: Joan Littlewood •  
Chorégraphe:  
Avec: Miriam Karlin (¡My Smith), James Booth (Tosher), Wallas Eaton (Horace Seaton), Glynn Edwards (Fred Cochran), Barbara Windsor (Rosie), Toni Palmer (Betty), Tom Chatto (Sgt. Collins), Faddy Joyce (Paddy). 


Commentaire: Original ly created at the Theatre RoyStratford East for a limited season in February 1959. This was revived at Stratford for Christmas 1959 and then transferred to the West End in February 1960. Originally Frank Norman, a former member of the Soho underworld, wrote the piece as a straight play, but Joan Littlewood decided to make it a musical. As was the policy of the Theatre Workshop Company, the cast was responsible for much of the dialogue and action in their improvisation sessions.  (plus) 


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Théâtre
Original London

3) Born Yesterday (Original London)

Joué durant  

Première preview: Inconnu
Première: sam. 01 février 1947
Dernière: Inconnu

Compositeur: *** Divers •  
Parolier: *** Divers •  
Libettiste: *** Divers •  
Metteur en scène: Laurence Olivier •  
Chorégraphe:  
Avec: William Kemp (Eric Booth), John Clifford (Bessie Love), Michael Lynd (William Kemp) 


Commentaire:   


Presse:

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Théâtre

2) Stranger Within (The) ()

Joué durant  

Nb de représentations: 53 représentations
Première preview: Inconnu
Première: sam. 01 juin 1929
Dernière: Inconnu

Compositeur: *** Divers •  
Parolier: *** Divers •  
Libettiste: *** Divers •  
Metteur en scène:  
Chorégraphe:  
Avec: Olga Lindo, Laurence Olivier (John Hardy) 


Commentaire: Petite série après le West End au Golders Green Hippodrome à Barnet, London
(5–10 août 1929)  (plus) 


Presse:

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Musical
Original London

1) Cocoanuts (The) (Original London)   

Joué durant  2 semaines

Nb de représentations: 23 représentations
Première preview: mar. 20 mars 1928
Première: mar. 20 mars 1928
Dernière: sam. 07 avril 1928

Compositeur: Irving Berlin •  
Parolier: Irving Berlin •  
Libettiste: George S. Kaufman • Morrie Ryskind •  
Metteur en scène:  
Chorégraphe:  
Avec: Fred Duprez (Julius Slimmer), Madleine Seymour (Mrs Potter), Pat Kendall (Penelope), Noel Layland (Bob Adams), Terry Kendall (Jamison), Enid Stamp Taylor (Polly), J.H. Wakefield (Harvey), Edgar Pierce (Detective Hennessey), Leonard Henry (Chico), Max & Harry Nesbitt (Harpo & Brother) 


Commentaire: Par rapport à la version créée à Broadway, la production londonienne subit une importante réécriture et une adaptation considérable pour un public britannique, remplaçant les frères Marx par le très britannique Max et Harry Nesbitt, ce qui signifie que les scènes comiques « de spécialité » sont très différentes. Il a été reçu comme un fourre-tou, un peu comme une pièce très courte avec un certain nombre de numéros de spécialité, des danses et des sketches de revue. Très loin d'une vraie comédie musicale.  (plus) 


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