Gillian Lynne Theatre (Londres)

Topologie du théâtre

Nombre de salles actives: 1
Salle 1: (1100) 1971 - Actif

Accès

En métro: Covent Garden (Piccadilly line)/Holborn (Piccadilly/Central lines)
En bus: 1, 4, 6, 9, 11, 13, 15, 19, 22, 38, 55, 68, 76, 171, 176, 188
Adresse: 166 Drury Lane, London, WC2B 5PW

Evolution

Bâtiment:
Nom: 17th century. Site of an inn which became known as the Great Mogul / 1847. Renamed the Mogul Saloon / 1851. Became the Middlesex Music Hall / 1911. Rebuilt by Frank Matcham for Oswald Stoll and James Graydon and renamed New Middlesex Theatre of Varieties / 1919. Rehabilitated to reopen as the Winter Garden Theatre / 1959. Closed permanently and demolished 1965 / 1971. Redevelopment begun with the New London Theatre forming part of a wider brief

Propriétaire(s)

Really Usefull Group

Remarquable

The flexible auditorium, with great potential for audience-actor interaction.

At the northern end of Drury Lane, before it enters High Holbom, large, modern office buildings tangle with 19th-century commercial blocks, while small houses and shops of the 18th and 19th centuries jostle with giants of the 1930s, such as the Freemasons’ Hall in Great Queen Street, in a remarkably civilized manner. There has been an inn at No. 167 since at least the 17th century, when Sir Thomas Drury gave his name to what was already an ancient roadway. Nell Gwyn, one-time barmaid, orange seller and actress, had lodgings in the Lane and links with the inn, which by this time had become known as the Great Mogul. By the mid-19th century the area had generally deteriorated, but in 1847 No. 167 was rehabilitated, opening on 27 December as the Mogul Saloon. In 1851 it became the Middlesex Music Hall, probably in response to the opening of the St Martin’s Music Hall (later the Queen's Theatre) in Long Acre the previous year. Music hall in London had its roots in the pubs of the 1830s and 1840s, especially in the East End. Many pubs had song rooms and concert rooms, often across the front of the building at first-floor level, and these became increasingly popular from the 1850s and 1860s.
The Middlesex, which occupied a relatively small site halfway between Parker Street and Macklin Street, was rebuilt in 1872 and again in 1891, but in 1911 the 'Old Mo’ was demolished and rebuilt by architect Frank Matcham for Oswald Stoll and James Graydon, who had managed it since 1875 as the New Middlesex Theatre of Varieties, in an externally rather lean, typically Edwardian red-brick and stone style. In 1919 the building was sold and, after being completely redecorated, was opened as the Winter Garden Theatre. In 1959 it was closed after a successful production of Alice in Wonderland, having been sold on - ostensibly for redevelopment - to Pearson Forsythe and Co., who immediately encountered planning problems with the London County Council. The now derelict building was sold again to Charles Forte, and consent was obtained for an all- embracing multi-use complex incorporating shops, restaurants, car parking, flats - and a theatre. Matcham's theatre was demolished in 1965, but the implementation of the scheme for which consent had been granted, designed by architect Paul Tvrtkovic with Chew and Percival and Sean Kenny for Star Holdings Ltd, was not started until 1971.
The development as a whole contrasts with rather than respects the scale and character of its close neighbours. The theatre - sited on the southwest angle of the plot - while appearing to have its roots firmly in the Royal Festival Hall, is not enhanced by the sheer-profiled metal box that rises above the impressive glazed front. Internally, the profiled, shuttered concrete fails to lift the spirits in an entrance vestibule overpowered by the raking underside of a main access stairway as it rises to the first-level foyer and bar.
The simple, largely black auditorium has been carefully designed, literally 'in the round', to be extremely flexible, incorporating the 60-foot revolve and seats and walls whose positions are adjusted electronically. The architect’s imaginative approach to his brief has produced a superb interactive arena for actors and audience, with almost every detail having received positive in-depth consideration

The Stalls is by far the biggest seating section within the theatre and seating is more like arena seating than that of a traditional theatre space. This section is divided into several sections, with notable divides between the front and rear stalls as well side sections as staircases run down the centre left and right aisles, separating side seats from the main central bulk.

Working in line with the thrust, Stalls seats curve round the stage, meaning some seats have a side angle view of the performance space, which can make viewing the action more difficult than in the central seating sections. Seating also comes up extremely close to the stage, which means those sitting in rows AA and A will have to do a fair bit of looking up throughout the show.

The best seats in the Stalls are undoubtedly those within the middle of the central section, namely those in row D, and the centre of E through to row O. Those within rows E-I are considered to be premium seats, however Seat Plan thinks that central seats in rows J-M boast just as good a view, but for around £30 less a ticket.

The Dress Circle is small compared to the Stalls and appears more like a viewing gallery than a full level. With a wide but thin sweep of the auditorium, there are just five rows upstairs split into three sections. The middle section by far offers the best view of the stage, aside from the front row which has a safety rail visual obscurity. The sections at the side of the Circle tend to be the cheapest in the house as they are at the far sides of the stage and have hand rails to content with, however Seat Plan thinks that, with a little leaning, these seats can be a cheap way to see an excellent show.

17th century. Site of an inn which became known as the Great Mogul / 1847. Renamed the Mogul Saloon / 1851. Became the Middlesex Music Hall / 1911. Rebuilt by Frank Matcham for Oswald Stoll and James Graydon and renamed New Middlesex Theatre of Varieties / 1919. Rehabilitated to reopen as the Winter Garden Theatre / 1959. Closed permanently and demolished 1965 / 1971. Redevelopment begun with the New London Theatre forming part of a wider brief

The flexible auditorium, with great potential for audience-actor interaction.

Musical
West End Transfer

17) Crazy for you (West End Transfer)

Joué durant 6 mois 3 semaines

Première preview: 24 June 2023
Première: 03 July 2023
Dernière: 20 January 2024

Compositeur: George Gershwin •
Parolier: Ira Gershwin •
Libettiste: Ken Ludwig •
Metteur en scène: Susan Stroman •
Chorégraphe: Susan Stroman •
Avec: Charlie Stemp (Bobby Child), Tom Edden (Bela Zangler), Carly Anderson (Polly)

Commentaire:

Presse:

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Théâtre
Revival

16) Lehman Trilogy (The) (Revival)

Joué durant 3 mois 1 semaine

Première preview: 24 January 2023
Première: 08 February 2023
Dernière: 20 May 2023

Compositeur: * Divers •
Parolier: * Divers •
Libettiste: * Divers •
Metteur en scène: Sam Mendes •
Chorégraphe: Polly Bennett •
Avec:** Michael Balogun (Emanuel Lehman), Hadley Fraser (Mayer Lehman), Nigel Lindsay (Henry Lehman), Yshani Perinpanayagam (piano), Ravi Aujla (understudy Emanuel Lehman), Will Harrison-Wallace (understudy Mayer Lehman), Leighton Pugh (understudy Henry Lehman), Erika Gundesen (understudy piano)

Commentaire:

Presse:

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Musical
Revival

15) Lion, the Witch, and the Wardrobe (The) (Revival)

Joué durant 5 mois 3 semaines

Première preview: 18 July 2022
Première: 18 July 2022
Dernière: 08 January 2023

Compositeur: Barnaby Race • Benji Bower •
Parolier: Barnaby Race •
Libettiste: Adam Peck •
Metteur en scène: Michael Fentiman •
Chorégraphe:
Avec: Samantha Womack, Ammar Duffus, Shaka Kalokoh, Robyn Sinclair, Delainey Haynes, Chris Jared, Jez Unwin, Scott Brooks, Rachel Dawson, Oliver Grant, Matthew James Hinchliffe, Shaun McCourt, Christina Tedders, Johnson Willis, Myla Carmen, Jasmin Colangelo, Julian Hoult, Ashlee Irish, Sean Lopeman, Micha Richardson, Ciaran Roger, Charlotte-Kate Warren…

Commentaire:

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Musical
Original

14) Cinderella (Lloyd Webber) (Original)

Joué durant 1 an 9 mois 4 semaines

Première preview: Inconnu
Première: 18 August 2020
Dernière: 12 June 2022

Compositeur: Andrew Lloyd Webber •
Parolier: David Zippel •
Libettiste: Emerald Fennell •
Metteur en scène: Laurence Connor •
Chorégraphe: Joanne Hunter •
Avec: Carrie Hope Fletcher (Cinderella), Victoria Hamilton-Barritt (Stepmother), Ivano Turco (Prince Sebastian), Rebecca Trehearn (The Queen), Gloria Onitiri (The Godmother), Georgina Castle (Stepsister - Marie), Laura Baldwin (Stepsister - Adele), Michael Afemare, Lydia Bannister, Michelle Bishop, William Bozier, Lauren Byrne, Sophie Camble, Tobias Charles, Vinny Coyle, Nicole Deon, Jonathan David Dudley, Dominic Adam Griffin, Michael Hamway, James Lee Harris, Leah Harris, Kate Ivory Jordan, Kelsie-Rae Marshall, Georgina Onuorah (who will play the role of Cinderella at certain performances), Andy Rees, Alexandra Waite Roberts, Sam Robinson, Giovanni Spano, Lauren Stroud, Georgia Tapp, Matthieu Vinetot

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Musical
Original

13) 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 "New london Theatre" Theatre change de nom: "Gillian Lynne Theatre"

On 14 March 2018, Andrew Lloyd Webber announced that the theatre would be renamed The Gillian Lynne Theatre later in the year, in honour of Gillian Lynne. The name officially changed on 1 May 2018. It is the first theatre in the West End of London to be named after a non-royal woman.

Musical
Original Europe

12) School of Rock (Original Europe)

Joué durant 3 ans 3 mois 2 semaines

Première preview: 24 October 2016
Première: 14 November 2016
Dernière: 01 March 2020

Compositeur: Andrew Lloyd Webber •
Parolier: Glenn Slater •
Libettiste: Julian Fellowes •
Metteur en scène: Laurence Connor •
Chorégraphe: Joanne Hunter •
Avec: David Fynn (Dewey Finn), Florence Andrews (Rosalie Mullins), Oliver Jackson (Ned Schneebly), Preeya Kalidas (Patty Di Marco), Gary Trainor (alternate Dewey), Jonathan Bourne, Nadeem Crowe, Michelle Francis, Rosanna Hyland, Cassandra McCowan, Joel Montague, Andy Rees, Cameron Sharp, Tasha Sheridan, Andrew Spillett and Lucy Vandi and swings, Charlotte Bradford, Jason Denton, Cellen Chugg James, Chris Jenkins, Alfie Parker and Charlotte Scott. Child cast: Tom Abisgold, Toby Lee, Jake Slack (Zach), Bailey Cassell, Jude Harper-Wrobel and Noah Key (Freddy), Giles Carden, Oscar Francisco, James Lawson (Lawrence), Selma Hansen, Lois Jenkins Sophia Pettit (Katie), Isabelle Methven, Lucy Simmonds, Eva Trodd (Summer), Madeleine Haynes, Leah Levman, Natasha Raphael (Marcy), Jaydah Bell-Ricketts, Shoshana Ezequiel, Amelia Poggenpoel (Shonelle), Lola Moxom, Mia Roberts, Grace Schnieder (Sophia), Nicole Dube, Amma Ris, Adithi Sujith (Tomika), Jobe Hart, Joshua Vaughan, Logan Walmsley (Billy), Presley Charman, Lucas Chow, Ben Dawson (Mason). Bradley Bissett, Denzel Eboji, Sonny Kirby (Mason), Zachary Dowlatshahi,Harry Egerton, Jacob Swann (Madison).

Commentaire:

Presse: "This is Lloyd Webber’s most exuberant show in years and, at a time of general gloom, is dedicated to the great cause of cheering us all up." Michael Billington for The Guardian

"The most enjoyable few hours money can buy." Dominic Cavendish for The Telegraph

"David Fynn is bliss as Dewey. In a performance of explosive energy and scapegrace charm." Paul Taylor for The Independent

"The exuberant silliness of this fresh and charming musical feels like a seasonal tonic." Henry Hitchings for The Evening Standard

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