Lyric Theatre
Broadway - Etats-Unis

Construction: 1998

Topologie du théâtre

Nombre de salles actives: 1
Salle 1: (1815)    1998 - Actif

Accès

En métro:
En bus:
Adresse: 213 W. 42nd St., New York, NY

Evolution

Bâtiment:
Nom:

Propriétaire(s)

Ambassador Theatre Group

Remarquable

1815 
1998 - Actif

Théâtre
Original Broadway

2) Harry Potter and the Cursed Child, Part I (Original Broadway)

Joué durant   actuellement

Nb de preview: 36 previews
Première preview: ven. 16 mars 2018
Première: dim. 22 avril 2018
Dernière: Open end

Compositeur: *** Divers •  
Parolier: *** Divers •  
Libettiste: *** Divers •  
Metteur en scène: John Tiffany •  
Chorégraphe: Steven Hoggett •  
Avec: Jamie Parker (as Harry Potter), Noma Dumezweni (as Hermione Granger), Paul Thornley (as Ron Weasley), Poppy Miller (as Ginny Potter), Sam Clemmett (as Albus Potter), Alex Price (as Draco Malfoy), Anthony Boyle (as Scorpius Malfoy), and Susan Heyward (as Rose Granger-Weasley) 


Commentaire: Cursed Child is the official eighth story in the Harry Potter franchise and the first to be officially presented on stage. The events of Cursed Child take place nineteen years after those of the final J.K. Rowling novel "Harry Potter and the Deathly Hallows" and the production features dazzling illusions, bringing the Wizarding World to life before your very eyes, as well as seven of the original London stars reprising their roles on Broadway.

We are obliged to #KeepTheSecrets in terms of the jaw-dropping stage magic, courtesy of the genius of Jamie Harrison, but we can assure you there won't be any disappointments. Yes, the theatre may not have the advantage of green screens and post-production special effects, so common in the Harry Potter movies, but on the other hand, Cursed Child is designed with theatricality in mind. From Steven Hoggett's spell-binding choreography, which additionally helps to render scene changes and character entrances seamless, to John Tiffany's wildly innovative directorial choices in scenes involving the Hogwarts Express or the events of the Tri-Wizard Tournament, Cursed Child is unapologetically and masterfully a piece of theatre, first and foremost.  (plus) 


Presse: "Time is a dangerous toy in Harry Potter and the Cursed Child, the enthralling two-part play about the later life of its title wizard. Various characters in this deluxe London import find it in their power to journey into the past, which means altering the future, which means serious trouble for everyone." Ben Brantley for New York Times

"There are more magic wands than you can shake a stick at in the wildly theatrical and thrilling Broadway spectacle Harry Potter and the Cursed Child." Joe Dziemianowicz for New York Daily News

"The world of Harry Potter has arrived on Broadway, Hogwarts and all, and it is a triumph of theatrical magic." Adam Feldman for Time Out New York

"Anyone still ready to dismiss Harry Potter and the Cursed Child as a cynical brand extension, or a theme-park ride on stage, clearly hasn't experienced the thrilling theatricality, the pulse-pounding storytelling vitality and the unexpected emotional richness of this unmissable two-part production. The ecstatic hype that accompanies the smash London import to Broadway is amply justified, and then some." David Rooney for Hollywood Reporter

"This is no time for bogus expressions of sophistication. So, let’s just say: Hooray! With Harry Potter and the Cursed Child, the Boy Who Lived has finally come to Broadway, bringing enchantment to a world that could really use a little magic right now." Marilyn Stasio for Variety

Plus d'infos sur cette production:


Théâtre
Original

1) Harry Potter and the Cursed Child, Part II (Original)

Joué durant   actuellement

Nb de preview: 36 previews
Première preview: ven. 16 mars 2018
Première: dim. 22 avril 2018
Dernière: Open end

Compositeur: *** Divers •  
Parolier: *** Divers •  
Libettiste: *** Divers •  
Metteur en scène: John Tiffany •  
Chorégraphe: Steven Hoggett •  
Avec: Jamie Parker (as Harry Potter), Noma Dumezweni (as Hermione Granger), Paul Thornley (as Ron Weasley), Poppy Miller (as Ginny Potter), Sam Clemmett (as Albus Potter), Alex Price (as Draco Malfoy), Anthony Boyle (as Scorpius Malfoy), and Susan Heyward (as Rose Granger-Weasley) 


Commentaire: Cursed Child is the official eighth story in the Harry Potter franchise and the first to be officially presented on stage. The events of Cursed Child take place nineteen years after those of the final J.K. Rowling novel "Harry Potter and the Deathly Hallows" and the production features dazzling illusions, bringing the Wizarding World to life before your very eyes, as well as seven of the original London stars reprising their roles on Broadway.

We are obliged to #KeepTheSecrets in terms of the jaw-dropping stage magic, courtesy of the genius of Jamie Harrison, but we can assure you there won't be any disappointments. Yes, the theatre may not have the advantage of green screens and post-production special effects, so common in the Harry Potter movies, but on the other hand, Cursed Child is designed with theatricality in mind. From Steven Hoggett's spell-binding choreography, which additionally helps to render scene changes and character entrances seamless, to John Tiffany's wildly innovative directorial choices in scenes involving the Hogwarts Express or the events of the Tri-Wizard Tournament, Cursed Child is unapologetically and masterfully a piece of theatre, first and foremost.  (plus) 


Presse: "Time is a dangerous toy in Harry Potter and the Cursed Child, the enthralling two-part play about the later life of its title wizard. Various characters in this deluxe London import find it in their power to journey into the past, which means altering the future, which means serious trouble for everyone." Ben Brantley for New York Times

"There are more magic wands than you can shake a stick at in the wildly theatrical and thrilling Broadway spectacle Harry Potter and the Cursed Child." Joe Dziemianowicz for New York Daily News

"The world of Harry Potter has arrived on Broadway, Hogwarts and all, and it is a triumph of theatrical magic." Adam Feldman for Time Out New York

"Anyone still ready to dismiss Harry Potter and the Cursed Child as a cynical brand extension, or a theme-park ride on stage, clearly hasn't experienced the thrilling theatricality, the pulse-pounding storytelling vitality and the unexpected emotional richness of this unmissable two-part production. The ecstatic hype that accompanies the smash London import to Broadway is amply justified, and then some." David Rooney for Hollywood Reporter

"This is no time for bogus expressions of sophistication. So, let’s just say: Hooray! With Harry Potter and the Cursed Child, the Boy Who Lived has finally come to Broadway, bringing enchantment to a world that could really use a little magic right now." Marilyn Stasio for Variety

Plus d'infos sur cette production:


Spectacle
Original

15) Paramour (Original)

Joué durant  10 mois 3 semaines

Première preview: sam. 16 avril 2016
Première: mer. 25 mai 2016
Dernière: dim. 16 avril 2017

Compositeur: *** Divers •  
Parolier: *** Divers •  
Libettiste: *** Divers •  
Metteur en scène: Philippe Decouflé •  
Chorégraphe:  
Avec: Ruby Lewis (Indigo), Jeremy Kushnier (A.J. Golden), Ryan Vona (Joey), Bret Shuford (Robbie), Sarah Meahl (Gina), Kat Cunning (Lila), Tom Ammirati, Andrew Atherton, Kevin Atherton, Lee Brearley, Yanelis Brooks, Sam Charlton, Martin Charrat, Nate Cooper, Katrina Cunningham, Myriam Deraiche, Kyle Driggs, Jeremias Faganel, Amber Fulljames, Steven Trumon Gray, Tomasz Jadach, Rafal Kaszubowski, Reed Kelly, Denis Kibenko, Joe McAdam, Raven McRae, Sarah Meahl, Amber J. Merrick, Sheridan Mouawad, Amber Pickens, Justin Prescott, Fletcher Blair Sanchez, Matthieu Sennacherib, Bret Shuford, Blakely Slaybaugh, Sam Softich, Amiel Soicher, Amber van Wijk, Bruce Weber, Tomasz Wilkosz, and Zhengqi Xia (Da Qi) 


Commentaire: Cirque du Soleil has dazzled audiences the world over, and now it's finally coming to Broadway with its boldest, most heart-soaring spectacle ever. PARAMOUR spins the thrilling tale of a beautiful young actress forced to choose between love and art in the glamorous world of Golden Age Hollywood. Featuring eye-popping acrobatics and sumptuous music and dance, PARAMOUR is a groundbreaking new event that will transport you to a sublime world of emotion and awe as it walks the exhilarating tightrope of the heart.  (plus) 


Presse: "Welcome to 'Paramour,' or as I like to call it, 'A.D.H.D.! The Musical.' The production... represents the latest attempt by the French Canadian entertainment behemoth Cirque du Soleil to make a big splash in New York. This time the company... has decided to splice the time-tested yowza diversions — acrobats and gymnasts and jugglers, oh my! — into a traditional musical, with a plot, characters, show tunes and even a little tap-dancing. The resulting show, I’m sorry to say, achieves the singular feat of being simultaneously frenetic and tedious." Charles Isherwood for New York Times

"'Paramour' wants to be different, outsized and brash. It's the first Cirque du Soleil show created specifically for Broadway, harnessing its muscular gravity-avoiding acrobats to musical theater. The result... is sometimes overstuffed and awkward but always finds its footing when it highlights its soaring, rubber-bodied stars." Mark Kennedy for Associated Press

"A Broadway musical on steroids... Their latest effort attempts to combine Cirque's trademark acrobatic acts with an original Broadway musical. Unfortunately, the resulting hybrid, Paramour, is more Frankenstein's monster than love child." Frank Scheck for Hollywood Reporter

"The show has a book (corny), a score of show tunes (mindless), and a cast of singing and dancing actors playing recognizable character roles. More happily, it also has those aerialists, acrobats, jugglers, and tumblers we love — and plenty of spectacle." Marilyn Stasio for Variety

Plus d'infos sur cette production:


Musical
Original

14) Paramour (Original)

Joué durant  10 mois 3 semaines

Nb de preview: 31 previews
Nb de représentations: 366 représentations
Première preview: sam. 16 avril 2016
Première: mer. 25 mai 2016
Dernière: dim. 16 avril 2017

Compositeur: Andreas Carlson • Martin Laniel •  
Parolier: Andreas Carlson •  
Libettiste:  
Metteur en scène: Philippe Decouflé •  
Chorégraphe:  
Avec: Jeremy Kushnier, Ruby Lewis (ii), Ryan Vona, Bret Shuford, Sarah Meahl, Kat Cunning, Tom Ammirati, Andrew Atherton, Kevin Atherton, Lee Brearley, Yanelis Brooks, Sam Charlton, Martin Charrat, Nate Cooper, Myriam Deraiche, Kyle Driggs, Jeremias Faganel, Amber Fulljames, Tomasz Jadach, Rafal Kaszubowski, Reed Kelly, Denis Kibenko, Joe McAdam, Raven McRae, Amber J. Merrick, Sheridan Mouawad, Amber Pickens, Justin Prescott, Fletcher Blair Sanchez, Mathieu Sennacherib, Blakely Slaybaugh, Sam Softich, Amiel Soicher, Steven Trumon Gray, Bruce Weber, Amber Van Wijk, Tomasz Wilkosz, Zhengqi Xia 


Commentaire:   


Presse: "Welcome to 'Paramour,' or as I like to call it, 'A.D.H.D.! The Musical.' The production... represents the latest attempt by the French Canadian entertainment behemoth Cirque du Soleil to make a big splash in New York. This time the company... has decided to splice the time-tested yowza diversions — acrobats and gymnasts and jugglers, oh my! — into a traditional musical, with a plot, characters, show tunes and even a little tap-dancing. The resulting show, I’m sorry to say, achieves the singular feat of being simultaneously frenetic and tedious."
Charles Isherwood for New York Times

"'Paramour' wants to be different, outsized and brash. It's the first Cirque du Soleil show created specifically for Broadway, harnessing its muscular gravity-avoiding acrobats to musical theater. The result... is sometimes overstuffed and awkward but always finds its footing when it highlights its soaring, rubber-bodied stars."
Mark Kennedy for Associated Press

"A Broadway musical on steroids... Their latest effort attempts to combine Cirque's trademark acrobatic acts with an original Broadway musical. Unfortunately, the resulting hybrid, Paramour, is more Frankenstein's monster than love child."
Frank Scheck for Hollywood Reporter

"The show has a book (corny), a score of show tunes (mindless), and a cast of singing and dancing actors playing recognizable character roles. More happily, it also has those aerialists, acrobats, jugglers, and tumblers we love — and plenty of spectacle."
Marilyn Stasio for Variety

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Danse
Revival

13) Lord of the Dance: Dangerous Games (Revival)

Joué durant  1 mois 3 semaines

Nb de preview: 4 previews
Nb de représentations: 67 représentations
Première preview: sam. 07 novembre 2015
Première: mar. 10 novembre 2015
Dernière: dim. 03 janvier 2016

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


Commentaire:   


Presse:

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Musical
Revival

12) On the Town (Revival)

Joué durant  10 mois 3 semaines

Nb de preview: 28 previews
Nb de représentations: 368 représentations
Première preview: sam. 20 septembre 2014
Première: jeu. 16 octobre 2014
Dernière: dim. 06 septembre 2015

Compositeur: Leonard Bernstein •  
Parolier: Adolph Green • Betty Comden •  
Libettiste: Adolph Green • Betty Comden •  
Metteur en scène: John Rando •  
Chorégraphe:  
Avec:  


Commentaire:   


Presse:

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Musical
Original

11) Spider-Man: Turn Off The Dark (Original)

Joué durant  2 ans 6 mois 3 semaines

Nb de preview: 182 previews
Nb de représentations: 10066 représentations
Première preview: dim. 28 novembre 2010
Première: mar. 14 juin 2011
Dernière: sam. 04 janvier 2014

Compositeur: Bono • The Edge •  
Parolier: Bono • The Edge •  
Libettiste: Glen Berger • Julie Taymor •  
Metteur en scène: Julie Taymor •  
Chorégraphe:  
Avec:  


Commentaire: Spider-Man: Turn Off the Dark had no out-of-town tryouts because of the technical requirements of the production, which were designed for the Foxwoods Theatre on Broadway. The musical began previews at that theatre on November 28, 2010. After many delays, the official opening gala night took place on June 14, 2011.

The creative team originally included director Taymor and choreographer Daniel Ezralow, with scenic design by George Tsypin, costume design by Eiko Ishioka and lighting design by Donald Holder. An "expanded creative team", announced on March 9, 2011, includes Philip William McKinley, joining the production as "consultant" (when Taymor left the production). It also includes the addition of Chase Brock for additional choreography and Roberto Aguirre-Sacasa for additional writing. Taymor retained her original credits in Spider-Man.

The opening night cast featured Reeve Carney as Peter Parker/Spider-Man, Jennifer Damiano as Mary Jane Watson, Patrick Page as Norman Osborn/Green Goblin, T. V. Carpio as Arachne, Michael Mulheren as J. Jonah Jameson, Ken Marks as Uncle Ben, Isabel Keating as Aunt May, Jeb Brown as Mary Jane's Father, Matt Caplan as school bully Flash Thompson, and Laura Beth Wells as Osborn's wife Emily. Due to the physical demands of the role, Carney performs in six of the eight performances each week. The original alternate was British actor Matthew James Thomas, who left the show in November 2012 to star in Pippin.

On November 19, 2013, producers announced that the show would close on January 4, 2014, citing falling ticket sales[26] and no longer being able to get injury insurance for the production as reasons for closure. Having run on Broadway for over three years, the production failed to make back its $75 million cost, the largest in Broadway history, with investors reportedly losing $60 million.  (plus) 


Presse: The show's first performance, on November 28, 2010, "garnered what was most likely the most press coverage of a first preview in history."

Reactions to the first preview described the musical as "visually stunning," despite technical glitches that resulted in several stops and starts during the performance. By January 18, 2011, a reviewer reported that there were no delays during the preview he saw. He praised the stunts and ballads "that evoke the yearning grandeur of U2 – though their more upbeat material tended to be nondescript" but felt that the "plot of the second act twisted into tangled knots." Radio and TV talkshow host Glenn Beck championed the production after attending the preview showings several times.

Most of the major theater critics published their reviews of the first version on February 7, 2011; nearly all of them were strongly negative in tone. Although reviews during the preview period are unusual, the critics decided that the ever-expanding preview period was so long, and ticket prices were so high, that they should not wait for the official opening. An analysis in The New York Review of Books by classics scholar Daniel Mendelsohn followed up the complaints of other critics that Taymor's attempt to graft the classical myth of Arachne onto the comic book story turned the show into "a grotesque hybrid" and overloaded the plot with two unrelated main villains in Arachne and Green Goblin. Mendelsohn saw "a crucial difference between the ancient and modern models of human-to-animal metamorphosis. For today's audiences, such transformations are liberating — literally "empowering" – whereas for the ancients, they were, more often than not, humiliations, punishments for inappropriate or overweening behavior. ... At the heart of the Spider-Man disaster is the essential incompatibility of those two visions of physical transformation – the ancient and the modern, the redemptive and the punitive, visions that Taymor tried, heroically but futilely, to reconcile."

In a scathing review of the first version, The New York Times critic Ben Brantley had said that Spider-Man may "rank among the worst" Broadway musicals. In his review of the revised version, Brantley wrote, "So is this ascent from jaw-dropping badness to mere mediocrity a step upward? Well, until last weekend ... I would have recommended Spider-Man only to carrion-feasting theater vultures. Now, if I knew a less-than-precocious child of 10 or so, and had several hundred dollars to throw away, I would consider taking him or her to the new and improved Spider-Man."

In the show's first incarnation, the average rating from critics was "F+", while the revision garnered an average score of "C+". In a roundup of the reviews, Linda Buchwald commented, "critics actually miss some of Julie Taymor's ambition, crazy as they may have thought it at the time. Critics agree that the show is improved in that it makes much more sense, however, now they mostly find it a bore. Bono and the Edge's score is almost universally panned while Patrick Page's Green Goblin and stunning visuals remain for most critics the best reasons to see the show."

Theatre review aggregator Curtain Critic gave the production a score of 50 out of 100 based on the opinions of 20 critics.

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Le théâtre devient le "Foxwoods Theatre" en 2010


Musical
Original

10) Young Frankenstein (Original)

Joué durant  1 an 1 mois 4 semaines

Nb de preview: 29 previews
Nb de représentations: 485 représentations
Première preview: jeu. 11 octobre 2007
Première: jeu. 08 novembre 2007
Dernière: dim. 04 janvier 2009

Compositeur: Mel Brooks •  
Parolier: Mel Brooks •  
Libettiste: Mel Brooks •  
Metteur en scène: Susan Stroman •  
Chorégraphe: Susan Stroman •  
Avec:  


Commentaire:   


Presse:

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Musical
Original

9) Pirate Queen (The) (Original)

Joué durant  2 mois 1 semaine

Nb de preview: 32 previews
Nb de représentations: 85 représentations
Première preview: mar. 06 mars 2007
Première: jeu. 05 avril 2007
Dernière: dim. 17 juin 2007

Compositeur: Claude-Michel Schonberg •  
Parolier: Alain Boublil • Claude-Michel Schonberg •  
Libettiste: Alain Boublil • Claude-Michel Schonberg •  
Metteur en scène: Frank Galati •  
Chorégraphe: Carol Leavy Joyce •  
Avec:  


Commentaire:   


Presse:

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Musical
Original Broadway

8) Chitty Chitty Bang Bang (Original Broadway)

Joué durant  8 mois 1 semaine

Nb de preview: 34 previews
Nb de représentations: 285 représentations
Première preview: mar. 29 mars 2005
Première: jeu. 28 avril 2005
Dernière: sam. 31 décembre 2005

Compositeur: Richard M Sherman • Robert B Sherman •  
Parolier: Richard M Sherman • Robert B Sherman •  
Libettiste: Jeremy Sams •  
Metteur en scène: Adrian Noble •  
Chorégraphe: Gillian Lynne •  
Avec: Caractacus Potts … Raúl Esparza
Truly Scrumptious … Erin Dilly
Grandpa Potts … Philip Bosco
Baron Bomburst … Marc Kudisch
Baroness Bomburst … Jan Maxwell
Goran … Chip Zien
Boris … Robert Sella
Childcatcher … Kevin Cahoon
Toymaker … Frank Raiter
Jeremy Potts … Henry Hodges
Jemima Potts … Ellen Marlow 


Commentaire:   


Presse:

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Le théâtre devient le "Hilton Theatre" début 2005


Musical
Revival

7) 42nd Street (Revival)

Joué durant  3 ans 8 mois

Nb de preview: 31 previews
Nb de représentations: 1556 représentations
Première preview: mer. 04 avril 2001
Première: mer. 02 mai 2001
Dernière: dim. 02 janvier 2005

Compositeur: Harry Warren •  
Parolier: Al Dubin •  
Libettiste: Mark Bramble • Michael Stewart •  
Metteur en scène: Mark Bramble •  
Chorégraphe: Randy Skinner •  
Avec:  


Commentaire:   


Presse:

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Musical
Revival

6) Jesus-Christ Superstar (Revival)

Joué durant  4 mois 2 semaines

Nb de preview: 28 previews
Nb de représentations: 161 représentations
Première preview: jeu. 23 mars 2000
Première: dim. 16 avril 2000
Dernière: dim. 03 septembre 2000

Compositeur: Andrew Lloyd Webber •  
Parolier: Tim Rice •  
Libettiste:  
Metteur en scène: Gale Edwards •  
Chorégraphe: Anthony Van Laast •  
Avec:  


Commentaire:   


Presse:

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Le théâtre ouvre sous le nom de "Ford Center for the Performing Arts" le 26 janvier 1998


Musical
Original Broadway

5) Ragtime (Original Broadway)

Joué durant  1 an 12 mois

Nb de preview: 27 previews
Nb de représentations: 834 représentations
Première preview: ven. 26 décembre 1997
Première: dim. 18 janvier 1998
Dernière: dim. 16 janvier 2000

Compositeur: Stephen Flaherty •  
Parolier: Lynn Ahrens •  
Libettiste: Terrence MacNally •  
Metteur en scène: Frank Galati •  
Chorégraphe:  
Avec:  


Commentaire:   


Presse:

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Musical
Original

4) Fifty Million Frenchmen (Original)

Joué durant  7 mois 1 semaine

Nb de représentations: 254 représentations
Première preview: Inconnu
Première: mer. 27 novembre 1929
Dernière: sam. 05 juillet 1930

Compositeur: Cole Porter •  
Parolier: Cole Porter •  
Libettiste: Herbert Fields •  
Metteur en scène: Edgar M. Woolley •  
Chorégraphe:  
Avec: William Gaxton (Peter Forbes), Genevieve Tobin (Looloo Carroll), Helen Broderick (Violet Hildegarde), Evelyn Hoey (May DeVere), Betty Compton (Joyce Wheeler), Jack Thompson (Michael Cummins), Lester Crawford (Billy Baxter), Dorothy Day (Marcelle Fouchard), Ignatio Martinetti (Louis), Thurston Hall (Emmitt Carroll), Bernice Mershon (Gladys Carroll), Fifi Laimbeer (Sylvia), Gertrude Mudge (Mrs. DeVere), Robert Leonard (Mr. Ira Rosen), Annette Hoffman (Mrs. Rosen), Larry Jason (Junior), Billy Reed (Boule DeNeige), Lou Duthers (Oscar), Mario Villani (M. Pernasse), Jean Del Val (Le Sahib Roussin, Joe Zelli), Mannart Kippen (The Grand Duke Ivan), and Oscar Magis (Maitre d'Hotel) 


Commentaire:   


Presse: Stephen Citron, in his book Noel & Cole, wrote that the musical received mixed reviews, citing critics Brooks Atkinson and Richard Watts who both deemed it "pleasant", saying there was not an "outstanding hit song in the show." Gilbert Gabriel, on the other hand, said it was "the best thing in seven years!" Porter champion Irving Berlin took out an advertisement stating in part: "The best musical comedy I have seen in years..." The show then had what was, for the time, a long run.

According to Charles Schwartz, writing in the biography Cole Porter, the musical's book by Herbert Fields "had a lot to do with capturing the frothy Gallic essence implicit in the title..." and he also noted the "near-perfect cast" and "sure-handed direction" of Monty Wooley.

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Musical
Original

3) Three Musketeers (The) (Friml) (Original)

Joué durant  9 mois 1 semaine

Nb de représentations: 318 représentations
Première preview: mar. 13 mars 1928
Première: mar. 13 mars 1928
Dernière: sam. 15 décembre 1928

Compositeur: Rudolf Friml •  
Parolier: Clifford Grey • P. G. Wodehouse •  
Libettiste: William Anthony McGuire •  
Metteur en scène: William Anthony McGuire •  
Chorégraphe:  
Avec: Robert D. Burns (Sergeant Jussac), Louis Hector (Comte de la Rochefort), Harrison Brockbank (Innkeeper), Naomi Johnson (Zoe), Vivienne Osborne (Lady De Winter), Detmar Poppen (Porthos), Douglass R. Dumbrille (Athos), Joseph Macaulay (Aramis), Vivienne Segal (Constance Bonacieux), Lester Allen (Planchet), Dennis King (D’Artagnan), John Clarke (The Duke of Buckingham), Yvonne D’Arle (Queen Anne), John Kline (M. de Treville), Reginald Owen (Cardinal Richelieu), Clarence Derwent (Louis XIII), William Kershaw (Brother Joseph), Harriet Hoctor (Premiere Danseuse of the Court), Catherine Hayes (Aubergiste), Richard Thornton (The Bo’sun), Raymond O’Brien (Patrick); Cardinal’s Guards: Andy Jochim and Randolph Leyman; Ladies in Waiting: Evelyn Groves, Lee Russell, Gertrude Williams, Mary McDonald, Pirkko Ahlquist, Marion Dodge, and Edna Bunte; Gerald Moore (King’s Attendant) The Albertina Rasch Dancers: Virginia Beardsley, Dona Desne Curry, Rose Gale, Eva Hellesnes, Marguerite Eisele, Nora Puntin, Louise Raymond, Yvonne Beaupre, Regina Tushinsky, Nona Otero, Lydia Krushinsky, Lucille O’Connor, Wilma Kaye, Helen Derby, Jeanette Bradley, Mildred Turner; Ladies of the Ensemble: Nancy Corrigan, Lillian White, Pauline Hall, Vida Hanna, Eleanor Buffington, Marie Merrifield, Julia Lane, Esther Peters, Sylvia Derby, Margaret Clarke, Byrdetta Evans, Eleanor Little, Emily Hadley, Libby Hanley, Ivy Palmer, Marye Bern, Frances Kelley, Lotta Marcy, Ann Moss, Helen Withers, Elaine Lank, Katherine Cavelli, Audrey Davis, Sally Hadley, Ellen Moray, Joan Marren, Hilda Steiner, Elsie Reign, Dorothy Greenley, Miriam Stockton, Dorothy Sutton, Margaret Valient; Gentlemen of the Ensemble: Martin Sheppard, A. Muzzi, Glen McCauley, John Zak, Ernest Ehler, Harry James, William Dillon, Armand Van Mueller, William Hagen, Robert Shields, Norman Ives, Stanley Howard, Charles Kirby, L. Dumbadse, Ivan Ismailov, Serge Vino 


Commentaire:   


Presse: J. Brooks Atkinson in the New York Times said the operetta was “lavishly” mounted in Ziegfeld’s “bounteous style” and was “a matchless achievement in design and expression.” William Anthony McGuire’s “excellent libretto” created “bold” characters engaged in “drinking, loving and fighting in the service of royalty,” and the story was complemented by Friml’s “rushing” and “captivating” score. Those who had read Dumas’s novel would find the evening “vivid, ebullient and bubbling,” and already some were dubbing the new work a “grand operetta.” As for King, he sang and acted in “the grand manner.” Charles Brackett in the New Yorker noted that King acquitted himself “with grace” but seemed “a trifle orchidaceous in comparison with the Fairbanks interpretation of the character” (Douglas Fairbanks had starred in a 1921 silent film adaptation). Otherwise, the décor was “lavish,” the Albertina Rasch dancers possessed “hypnotic grace,” and Friml had composed a “good, thick, rambunctious score.” Mary Ann Miller in the Indianapolis Star said the score was “rousing” and the libretto “worthy of Dumas’ swashbuckling novel.” The work was “a most skillfully artistic production, directed with a fine discernment and acted as a spirited and humorous romance.” Arthur Pollock in the Brooklyn Daily Eagle singled out “Ma Belle” and “(March of the) Musketeers” as the score’s best songs, and suggested the evening would have been better served had it been shorter. Further, the book was somewhat austere and needed to be “a little louder, more hilarious, gustier—something looser, more pungent, racier and red-eyed.” As a result, the production “just misse[d] being good enough to go on until midnight.” Time summed up the plot by noting that D’Artagnan and the Three Musketeers spend their time “serving the King of France” and “making love to ladies.” The chorus girls “capered” about the stage dressed in “wide skirts and bonnets,” and if “equipped with dusters” they’d “look as if they had just jumped out of a can of glorified Dutch Cleanser.” Percy Hammond in the Pittsburgh Press praised the “melodious” score and said King had “the voice of a nightingale, the shape of Apollo, the charm of Laurette Taylor, the valor of a U.S. Marine, the punch of Eugene Tunney, and the impishness of Puck.” During the run, four songs were cut, “My Sword (and I),” “Te Deum,” “Heart of Mine,” and “Until We Say Goodbye,” and three were added, “Every Little While,” “Your Eyes,” and “Gascony” (aka “Gascony Song” and “Gascony Bred”). Dropped during the tryout were “One Smile from You,” “Shipmates All,” “Noah,” and “Near You.”

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Musical
Original

2) Cocoanuts (The) (Original)

Joué durant  8 mois

Nb de représentations: 276 représentations
Première preview: mar. 08 décembre 1925
Première: mar. 08 décembre 1925
Dernière: sam. 07 août 1926

Compositeur: Irving Berlin •  
Parolier: Irving Berlin •  
Libettiste: George S. Kaufman • Morrie Ryskind •  
Metteur en scène: Oscar Eagle •  
Chorégraphe:  
Avec: Chico Marx (Willie the Wop), Groucho Marx (Henry W. Schlemmer), Harpo Marx (Silent Sam), Zeppo Marx (Jamison), Jack BarkerThe Breens (Specialty), Lehman Byck (Ensemble), Grace Carroll (Ensemble), Kitty Clay (Ensemble), Beatrice Coniff (Ensemble), Ted Daniels (Ensemble), Billie Davis (Ensemble), Eugene Day (Ensemble), Antonio De Marco (Specialty), Nina De Marco (Specialty), Billy DeWolf (Ensemble), Margaret Dumont (Mrs. Potter), Xela Edwards (Ensemble), Roberta Haines (Ensemble), Georgie Hale (Eddie), Rella Harrison (Ensemble), Madeline Janis (Ensemble), Peggy Jones (Ensemble), Mildred Kelly (Ensemble), Evelyn Kermin (Ensemble), Charles Knowlton (Ensemble), Andre Lapue (Ensemble), Maude Lydiate (Ensemble), Lionel Maclyn (Ensemble), Frances Mallory (Ensemble), Liane Mamet (Ensemble), Philip Mann (Ensemble), Juan Marlow (Ensemble), Maxine Marshall (Ensemble), Helen Martin (Ensemble), Mat Matus (Ensemble), Virginia McCune (Ensemble), Adele McHatton (Ensemble), Nesha Medwin (Ensemble), Eleanor Meeker (Ensemble), Bonnie Murray (Ensemble), Marjorie Murray (Ensemble), Hazel Patterson (Ensemble), Jessie Payne (Ensemble), Elsie Pedrick (Ensemble), Gladys Pender (Ensemble), Nancy Phillips (Ensemble), Florence Regan (Ensemble), Jerome Robertson (Ensemble), Maxine Robinson (Ensemble), Basil Ruysdael (Hennessey), Bernice Speer (Specialty), Hazel Stille (Ensemble), Sybil Stuart (Ensemble), Janet Velie (Penelope Martin), Jerry White (Ensemble), Henry Whittemore (Harvey Yates), Beryle Williams (Ensemble), Billie Williams (Ensemble), Frances Williams (Frances Williams), Mabel Withee (Polly Potter) 


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Musical
Original

1) For Goodness Sake (Original)

Joué durant  2 mois 3 semaines

Nb de représentations: 103 représentations
Première preview: mar. 21 février 1922
Première: mar. 21 février 1922
Dernière: sam. 20 mai 1922

Compositeur: George Gershwin • Paul Lannin • William Daly •  
Parolier: Arthur J. Jackson •  
Libettiste: Fred Jackson •  
Metteur en scène: Priestly Morrison •  
Chorégraphe:  
Avec: Fred Astaire (Teddy Lawrence), Adele Astaire (Suzanne Hayden), Marjorie Gateson (Vivian Reynolds), Harry R. Allen (Joseph), Charles Judels (Count Spinagio), John E. Hazzard (Perry Reynolds), Helen Ford (Marjorie Leeds), Vinton Freedley (Jefferson Dangerfield); House Party Guests: Violet Vale, Ann Poulson, Kitty Gray, Helen Paine, Lorraine Sherwood, Lenore Lukens, Doris Hyde, Phyllis Reynolds, Sylvia Jocelyn, Muriel Lodge, Peggy Mitchell, Bebe LaVelle, Jack Goeirs, Fred Packard, Dana Mayo, James Herold, Russell Swann, Roger Buckley 


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