Londres
Noel Coward Theatre
Londres - Angleterre
Construction: 1903
Topologie du théâtre
Nombre de salles actives: 1
Salle 1: (878) 1903 - Actif
Accès
En métro: Leicester Square
En bus: 24, 29, 176
Adresse: St Martin's Lane, London, WC2N 4AU
Evolution
Bâtiment: 1903. Theatre opens, designed by W. G. R. Sprague for Charles Wyndham and Mary Moore, and named the New Theatre / 1973. Renamed Albery Theatre / 2006. Renamed Noel Coward Theatre.
Nom: New Theatre / Albery Theatre
Propriétaire(s)
Delfont Mackintosh Theatres
Remarquable
A theatre tightly planned with great skill on a restricted site / An uncommonly good Louis XVI interior.
878
1903 - Actif
Le cast complet de la production du West End a aussi été annoncée: Robert Hands (Cromer), Matthew Malthouse (Eddie), Samuel Holmes (Bertie), Katie Bernstein (Peggy), Lizzy Connolly (Doris), Lauren Hood (Vera), Liz Ewing (Lady Conway), Sarah Bakker, Andrew Bryant, Rhiannon Chesterman, Alexander Delamere, Emily Goodenough, Victoria Hay, Oliver Jackson, Ian Gareth Jones, Katrina Kleve, Lauren Logan, Tania Newton, Sam O'Rourke, Neil Stewart et Dickie Wood.
St Martin's Lane probably originated as a medieval field road extending from St Martin-in-the-Fields and the Strand in the south to St Giles-in-the-Flelds (close to the Shaftesbury Theatre) in the north. For 200 years from the early 17th century the rich and famous took up residence In grand houses, mainly on the west side of the Lane, in an enclave that attracted the great and the good of the arts world of Britain and Europe. They included Sir Joshua Reynolds, who became first President of the Royal Academy in 1768, and Louis Roubiliac, a French-born sculptor of extraordinary genius who set up his studio here in 1738. Along the east side, opposite to where the Albery now stands, were the premises of various craftsmen and artisans: Thomas Chippendale's workshop, now marked by a London County Council blue plaque, occupied a site here during the second half of the 18th century, manufacturing restrained rococo, Chinese and Gothic furniture for a demanding market. Avoiding excessive ornament In his designs, Chippendale relied on form and proportion to achieve his elegant effects, and had he been able to revisit St Martin’s Lane around 12 March 1903, when the New Theatre opened, he would have been pleased with what he saw.
On the west side of St Martin’s Lane, the theatre sits well between The Salisbury public house and the rebuilt Westminster County Court of 1908. Justice is no longer dispensed here, only food and drink: It is now Browns Restaurant. In 1899 Charles Wyndham and Mary Moore had opened Wyndham’s Theatre, fronting on to Charing Cross Road, but it was as Sir Charles - he was knighted in 1902 for services to the theatre - that Wyndham opened his New Theatre, built back-to-back with a bridge link to Wyndhams on land he had been forced to lease as part of his original deal with the Marquess of Salisbury. Had he been able to sell the ‘left-over’ plot, there would have been no New Theatre. The theatre’s name changed in 1973 to honour the memory of Sir Bronson Albery, son of James Albery and Mary Moore.
To design his first theatre Charles Wyndham had commissioned W. G. R. Sprague, and it was to the same architect that he turned to design the New - but In a rather more expansive mode, In collaboration with interior design consultant Claude Ponsonby. Consisting of three major bays, and three and four storeys In height, the Portland stone-faced building is a fine piece of eclectic free classical design, with the large central, slightly advanced bay, under a bold pediment and ornamented tympanum, flanked by balustraded parapets and ball finials on dies. The façade is articulated by giant Ionic pilasters extending through the first and second storeys, with an arcaded loggia at first-floor level fronting the grand-clrcle bar. The flank elevation is faced in white and brown glazed brick, with yellow stock brick to the rear. An original, and very pretty, cast-iron decorative bracketed canopy extends across the front of the building and, in a simplified form, down its side.
Fine polished timber entrance doors open on to an Interior of surprising sensitivity and almost domestic delicacy, contrasting with the correct classical form of the façade. Pale apricot, blue and gold bring to life a marble-floored Adamesque foyer. Corinthian pilasters support a simple cornice, the whole being dominated by a guilloche-circled celling. Emphasizing the room’s domestic character is a white marble chimneypiece with a sunburst central ornamental panel. Immediately above, the grand-clrcle bar with Its swagged wall decoration and deeply coved ceiling is amazingly generous on a restricted site, where every square foot of space within the auditorium has been allocated by careful planning.
The restrained Louis XVI auditorium is a joy. On a base colour of pale grey, gold highlighting has been used with an unusually light touch. Bombe-fronted balconies curve sinuously in varying forms, ornamented with beautiful painted panels, ormolu lamps and sconces. Three-tier stage boxes are formed within the reveal of the square proscenium arch, which is capped by relief figures representing music and peace. Completing the French flavour of the auditorium are portrait medallions of French kings and queens.
In 1924 a very young Sybil Thorndike packed the theatre with her portrayal of St Joan in George Bernard Shaw’s masterpiece. During the 1930s and 1940s John Gielgud and Laurence Olivier were regular performers here. Under Milk Wood was on stage in the mid-1950s and Oliver! in the 1960s. In the 1980s Children of a Lesser God and Willy Russell's Blood Brothers made a considerable Impact on London’s theatre audiences.
In 1920, Noël Coward became associated with the New Theatre, putting on a production of his play I Leave It To You. Almost nine decades later his memory was honoured in the renaming of the theatre.
1903. Theatre opens, designed by W. G. R. Sprague for Charles Wyndham and Mary Moore, and named the New Theatre / 1973. Renamed Albery Theatre / 2006. Renamed Noel Coward Theatre.
Infos complémentaires:
The Stalls section seats a large proportion of audience members in one large section with no aisles. Rows fan out from the stage, with longer rows towards the middle and rear. Seats towards the ends of these rows tend to fall outside the direct view of the stage and should be chosen only when discounted. Best seats in this section are from rows F - M, around the premium priced seats that offer little more than many other cheaper seats. Towards the rear of the section the overhang from above begins to restrict the view, which can cut off a considerable amount of the stage and set. The section is well raked however, and with a high stage, seats towards the back are often better than those at the front for a similar price. Seats in rows AA-B are too close to the stage and result in always looking up at the action. Seats feel comfortable on the whole with adequate legroom throughout. Rows P-T can feel rather detached, but the overhang does not feel low enough to ruin the performance.
The Royal Circle is divided into a main central section and two smaller side sections by two aisles. The whole section is wider than it is deep, meaning that views of the stage can be side on for those towards the ends of each aisle. The rake is good throughout the depth of the section, and the overhang from the Grand Circle does not begin until row F, not causing any problems even at the rear of the section. Rows F-H, although not bad seats, are not as good as other similarly priced seats in either the Grand Circle or the Stalls. They can feel quite far away from the action, and should be chosen last after selecting closer seats.
The side sections wrap around the curve of the circle providing a less direct view of the stage. The extremes of each side should be avoided as they can often be restricted Premium seats are not worth paying the extra, instead sit a row behind in row C for a fraction of the cost.
The Grand, or Upper Circle feels quite far away from the stage and offers a more disparate mix of seating options. Two slips run down the side of the section, providing side on views of the stage. Unless heavily discounted, these should not be taken. The remainder of the Grand Circle is wide and shallow, with only 7 rows of seats, of which the central rows are the best. The front row has limited leg room and suffers visually from the single metal bar that runs across the balcony. A double bar protects the end of each row, which can again cause significant issues. The overhang of the level above does not affect the view from any of the rows, so other than feeling quite far away from the action, seats in the rear Upper Circle do provide good value for money.
The balcony is 55 steps above street level and looks directly down onto the stage, far away from the action. Those who are scared of heights should not choose to sit here. The section is small with only 5 rows of seating, protected by a double metal bar running along the edge. Overall, the view is quite unrestricted, although towards the back the theatre's ceiling is in constant view. For a play, much of the action can be lost as you are simply too far from the stage. Select these seats only at face value or discount.
New Theatre / Albery Theatre
A theatre tightly planned with great skill on a restricted site / An uncommonly good Louis XVI interior.
Théâtre
Revival
63) ** Hors DB Theatre (Revival)
Joué durant 2 mois 2 semaines
Première preview: 26 May 2023
Première: 06 June 2023
Dernière: 19 August 2023
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Divers •
Metteur en scène: Rupert Goold •
Chorégraphe: Polly Bennett •
Avec: Tom Hollander (Berezovsky), Will Keen (Putin), Luke Thallon (Abramovich), Matt Concannon, Ronald Guttman, Sean Kingsley, Paul Kynman, Jessica Temple
Commentaire:
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Musical
Original
62) Great British Bake Off Musical (The) (Original)
Joué durant 2 mois 2 semaines
Première preview: 25 February 2023
Première: 25 February 2023
Dernière: 14 May 2023
Compositeur: Pippa Cleary •
Parolier: Jake Brunger • Pippa Cleary •
Libettiste: Jake Brunger •
Metteur en scène: Richard Kavanaugh •
Chorégraphe: Georgina Lamb •
Avec: John Owen Jones (Phil Hollinghurst), Scott Paige (Presenter), Claire Moore, Catrina Sandison, Charlotte Wakefield, Damian Humbley, Jay Saighal, Michael Cahill, Aharon Rayner, Haydn Gwynne, Zoe Birkett, Grace Mouat, George Westall, Stuart Hickey, Jamil Abbasi, Aanya Shah, Amelie Rouse, Maisy Mein
Commentaire:
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Théâtre
West End Transfer
61) Best of Enemies (West End Transfer)
Joué durant 3 mois
Première preview: 14 November 2022
Première: 14 November 2022
Dernière: 18 February 2023
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Divers •
Metteur en scène: Jeremy Herrin •
Chorégraphe:
Avec: Zachary Quinto, David Harewood, Deborah Alli, David Boyle, Lincoln Conway, Emilio Doorgasingh, Vivienne Ekwulugo, Clare Foster, Tom Godwin, John Hodgkinson, Jamie Hogarth, Syrus Lowe, Kevin McMonagle, Sam Otto, and Saaj Raja
Commentaire: Créé au Young Vic Theatre en 2021. (plus)
Presse:
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Musical
Original
60) 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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Musical
59) Dear Evan Hansen ()
Joué durant 2 ans 11 mois 2 semaines
Première preview: 12 November 2019
Première: 12 November 2019
Dernière: 22 October 2022
Compositeur: Benj Pasek • Justin Paul •
Parolier: Benj Pasek • Justin Paul •
Libettiste: Steven Levenson •
Metteur en scène: Michael Greif •
Chorégraphe:
Avec: Sam Tutty (Evan Hansen), Lucy Anderson (Zoe Murphy), Rebecca McKinnis (Heidi), Doug Colling (Conor Murphy), Lauren Ward (Cynthia Murphy), Rupert Young (Larry Murphy), Jack Loxton (Jared), Nicole Raquel Dennis (Alana), David Breeds (cover for Evan/Connor and Jared), Alex Thomas Smith (cover for Evan/Jared), Marcus Harman (alternate Evan Hansen and cover for Connor/Jared), Tricia Adele-Turner (cover Heidi/Cynthia), Hannah Lindsey (cover Heidi/Cynthia), Natalie Kassanga (cover Zoe/Alana), Courtney Stapleton (cover Zoe/Alana), James Winter (Ensemble), Haydn Cox (Ensemble), Mark Peachey (Ensemble).
Commentaire:
Presse:
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Théâtre
Revival
58) Night of the Iguana (The) (Revival)
Joué durant 2 mois 2 semaines
Première preview: 06 July 2019
Première: 16 July 2019
Dernière: 28 September 2019
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Divers •
Metteur en scène: James MacDonald •
Chorégraphe:
Avec:
Clive Owen, Anna Gunn, Lia Williams, Julian Glover, Alasdair Baker, Timothy Blore, Emma Canning, Karin Carlson, Madeleine Day, Ian Drysdale, Mufrida Hayes, Andrew McDonald, Manuel Pacific, Faz Singhateh, Finty Williams, Penelope Woodman and David Young.
Commentaire:
Presse:
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Théâtre
Revival
57) All About Eve (Revival)
Joué durant 2 mois 3 semaines
Première preview: 02 February 2019
Première: 12 February 2019
Dernière: 11 May 2019
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Divers •
Metteur en scène: Ivo van Hove •
Chorégraphe:
Avec: Gillian Anderson (Margo), Lily James (Eve), Monica Dolan (Karen), Julian Ovenden (Bill), Sheila Reid (Birdie), Rhashan Stone (Lloyd).
Commentaire:
Presse:
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Théâtre
West End Transfer
56) Inheritance (The) (West End Transfer)
Joué durant 3 mois 1 semaine
Première preview: 21 September 2018
Première: 13 October 2018
Dernière: 19 January 2019
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Divers •
Metteur en scène: Stephen Daldry •
Chorégraphe:
Avec: Hugo Bolton, Robert Boulter, Andrew Burnap, Hubert Burton, John Benjamin Hickey, Paul Hilton, Samuel H Levine, Syrus Lowe, Michael Marcus, Vanessa Redgrave, Kyle Soller, Michael Walters.
Commentaire: Stephen Daldry directs this hilarious and profound heart-breaker in two parts, which can be seen either in one day or across two evenings.
Running times - Part 1: 3 hours 20 mins (with 2, 10 min intervals). Part 2: 3 hours 35 mins (with 1, 10 min interval and a 5 min 'pause') (plus)
Presse:
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Théâtre
Revival
55) Lieutenant of Inishmore (The) (Revival)
Joué durant 2 mois
Première preview: 23 June 2018
Première: 04 July 2018
Dernière: 08 September 2018
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Divers •
Metteur en scène: Michael Grandage •
Chorégraphe:
Avec: Aidan Turner (as Padraic), Denis Conway (as Donny), Will Irvine (as Christy), Brian Martin (as James), Daryl McCormack (as Brendan) Julian Moore-Cook (as Joey), Charlie Murphy (as Mairead), and Chris Walley (as Davey)
Commentaire: The play premiered at the Other Place Theatre in Stratford-Upon-Avon in 2001, before running at the Barbican and the Garrick Theatre in 2002. It will run in London at the Noel Coward Theatre from 24th June. (plus)
Presse:
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Théâtre
West End Transfer
54) Quiz (West End Transfer)
Joué durant 2 mois 1 semaine
Première preview: 31 March 2018
Première: 10 April 2018
Dernière: 16 June 2018
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Divers •
Metteur en scène: Simon Evans •
Chorégraphe:
Avec:
Gavin Spokes, Keir Charles, Greg Haiste, Mark Meadows, Henry Pettigrew, Stephanie Street, Jay Villiers, Lizzie Winkler and Sarah Woodward, Sharon Ballard
Commentaire: The play opened at Chichester Festival Theatre in November 2017 to positive reviews, and will be transferring to the Noel Coward Theatre from 31st March to 16th June. (plus)
Presse:
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Théâtre
West End Transfer
53) Girl From the North Country (West End Transfer)
Joué durant 2 mois 2 semaines
Première preview: 29 December 2017
Première: 11 January 2018
Dernière: 31 March 2018
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Divers •
Metteur en scène: Conor McPherson •
Chorégraphe:
Avec: Hannah Azuonye, Mary Doherty, David Ganly (Mr Burke), Adam James (Dr Walker), Karl Johnson (Mr Perry), Emmanuel Kojo, Sheila Atim, Ciaran Hinds, Shirley Henderson, Arinze Kene, Tim McMullan, Debbie Kurup, Bronagh Gallagher, Claudia Jolly, Sam Reid, Jack Shalloo.
Commentaire: The production orignially ran at the Old Vic in July 2017 to wide critical acclaim for the cast, the story and the haunting arrangements of Dylan's classic numbers. (plus)
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Théâtre
Original
52) Labour of Love (Original)
Joué durant 2 mois
Première preview: 27 September 2017
Première: 03 October 2017
Dernière: 02 December 2017
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Divers •
Metteur en scène: Jeremy Herrin •
Chorégraphe:
Avec: Martin Freeman, Tamsin Greig, Rachael Stirling, Kwong Loke, Dickon Tyrrell and Susan Wokoma
Commentaire: James Graham's new play, Labour of Love, gets its world premiere presented by The Michael Grandage Company and Headlong at the Noel Coward Theatre (plus)
Presse:
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Musical
West End Transfer
51) Half a Sixpence (West End Transfer)
Joué durant 9 mois 2 semaines
Première preview: 26 October 2016
Première: 17 November 2016
Dernière: 02 September 2017
Compositeur: David Heneker •
Parolier: David Heneker •
Libettiste: Beverley Cross •
Metteur en scène: Rachel Kavanaugh •
Chorégraphe: Andrew Wright •
Avec: Charlie Stemp (Arthur Kipps), Devon-Elise Johnson (Ann Pornick), Ian Bartholomew (Chitterlow), Emma Williams (Helen Walsingham)
Commentaire: West End transfer of his Chichester Festival Theatre revival of "Half a Sixpence". (plus)
Presse: "Slick musical update lacks emotional clout." Michael Billington for The Guardian
"This is the best version of this musical London has yet seen, oozing with confidence and style in Rachel Kavanaugh’s staging, and brimming over with spick-and-span choreographic delights" Dominic Cavendish for The Telegraph
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Divertissement
Original
50) Impossible (Original)
Joué durant 1 mois 2 semaines
Première preview: 08 July 2016
Première: 13 July 2016
Dernière: 27 August 2016
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Divers •
Metteur en scène: Lloyd Wood •
Chorégraphe:
Avec: Magical Bones, Chris Cox, Sabine Van Diemen, Jonathan Goodwin, Ben Hart, Josephine Lee
Commentaire:
Presse: "Not only is all this a bit hammy, the concept struggles to unify an evening that, in truth, is a bit of a mixed bag." Clare Allfree for The Telegraph
"It’s a highly entertaining show, but also somewhat retro in its suggestion that the chief function of women is to be bundled into cabinets and bisected, made to disappear or invisibly transported from one side of the stage to the other." Michael Billington for The Guardian
"This magic show is so mind-blowingly spectacular it will knock your socks off. Sometimes. Elsewhere it may have you impatient for the next Vegas-style thrill." Bruce Dessau for The Evening Standard
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Musical
Original London
49) Mrs Henderson Presents (Original London)
Joué durant 4 mois
Première preview: 09 February 2016
Première: 16 February 2016
Dernière: 18 June 2016
Compositeur: George Fenton • Simon Chamberlain •
Parolier: Don Black •
Libettiste: Terry Johnson •
Metteur en scène: Terry Johnson •
Chorégraphe: Andrew Wright •
Avec: Tracie Bennett (Laura Henderson), Ian Bartholomew (Vivian Van Damm), Emma Williams (Maureen), Jamie Foreman (Arthur), Robert Hands (Cromer), Matthew Malthouse (Eddie), Samuel Holmes (Bertie), Katie Bernstein (Peggy), Lizzy Connolly (Doris), Lauren Hood (Vera) and Liz Ewing (Lady Conway), Sarah Bakker, Andrew Bryant, Rhiannon Chesterman, Alexander Delamere, Emily Goodenough, Victoria Hay, Oliver Jackson, Ian Gareth Jones, Katrina Kleve, Lauren Logan, Tania Newton, Sam O'Rourke, Neil Stewart and Dickie Wood
Commentaire:
Presse: Les critiques sont bonnes:
"This is a show that not only improves on the original movie, but also gives the comatose British musical a healthy injection of energy." Michael Billington for The Guardian
"Has plenty of heart, but its art is somewhat lacking." Dominic Cavendish for The Telegraph
"As for the songs, there are a lot of them from Don Black (lyrics) and George Fenton and Simon Chamberlain (music), but none are memorable. The last thing the West End needs is an endless stream of American musicals, but this home-grown fare simply isn’t good enough." Fiona Mountford for The Evening Standard
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Spectacle
48) A Christmas Carol ()
Joué durant 1 mois 3 semaines
Première preview: 30 November 2015
Première: 09 December 2015
Dernière: 30 January 2016
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Divers •
Metteur en scène: Philem McDermott •
Chorégraphe:
Avec: Jim Broadbent as Scrooge
Commentaire:
Presse: Les critiques sont moyennes:
"The evening achieves a hard-won pathos – bit by bit, as the ghosts of Christmas past, present and future get to conscience-stirring work, something flickers across Broadbent’s blankly staring face." Dominic Cavendish for The Telegraph
"It’s a larky, high-spirited production that operates as a play within a play. The evening trades in puncturing illusions: the illusion that money can bring happiness, the illusions of capitalism and the illusions of theatre itself." Lyn Gardner for The Guardian
"Uneven telling of the classic seasonal tale is a mixture of the inspired and the ponderous." Henry Hitchings for The Evening Standard
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Théâtre
47) Photograph 51 ()
Joué durant 2 mois 1 semaine
Première preview: 05 September 2015
Première: 14 September 2015
Dernière: 21 November 2015
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Divers •
Metteur en scène: Michael Grandage •
Chorégraphe:
Avec: Nicole Kidman (Rosalind Franklin), Will Attenborough (James Watson), Edward Bennett (Francis Crick), Stephen Campbell Moore (Maurice Wilkins), Patrick Kennedy (Don Caspar) and Joshua Silver (Ray Gosling)
Commentaire:
Presse: "Even if the play could go still further, it proves that science is inherently dramatic and that the neglect of Rosalind Franklin’s contribution to uncovering the secret of life remains a blot on our history." Michael Billington for The Guardian
"Grandage directs it all with characteristically fluid aplomb, placing the action (sometimes using neat, quasi-scientific symmetries) amid a towering set by Christopher Oram that evokes the bombed-out Palladian magnificence of King’s, piles of rubble lapping at arches." Dominic Cavendish for The Telegraph
"In her compelling and subtle performance, Kidman beautifully captures the prickly defensiveness, the lonely dedication, and the suppressed emotional longings of the scientist." Paul Taylor for The Independent
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Spectacle
46) Impossible ()
Joué durant 1 mois
Première preview: 24 July 2015
Première: 30 July 2015
Dernière: 29 August 2015
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Divers •
Metteur en scène: Anthony Owen •
Chorégraphe:
Avec: Chris Cox (mind reader), Katherine Mills (psychological trickster), Ben Hart (magician), Jamie Allan ('digital' magician), Magical Bones, Ali Cook, Luis de Matos, Jonathan Goodwin, Jamie Allan, Chris Cox, Ben Hart, Katherine Mills, Aaron Crow (Magician and Daredevil - from 24 August)
Commentaire:
Presse:
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Théâtre
Revival
45) Death of a Salesman (Revival)
Joué durant 2 mois
Première preview: 09 May 2015
Première: 13 May 2015
Dernière: 18 July 2015
Compositeur:
Parolier:
Libettiste: Arthur Miller •
Metteur en scène: Gregory Doran •
Chorégraphe:
Avec: Antony Sher (Will Loman), Harriet Walter (Linda Loman), Brodie Ross (Bernard), Joshua Richards (Charley), Guy Paul (Uncle Ben), Sarah Parks (The Woman), Miranda Nolan (Letta), Sam Marks (Happy Loman), Emma King (Miss Forsyth), Alex Hassell (Biff Loman), Ross Green (Stanley), Helen Grady (Jenny), Paul Birhcard (Older Waiter), Tobias Beer (Howard Wagner)
Commentaire:
Presse: "Antony Sher gives the performance of his career ." Dominic Cavendish for The Daily Telegraph (reviewed in Stratford)
"Gregory Doran’s Arthur Miller production skilfully contrasts a bitter old man with his dapper younger self, as Harriet Walter touchingly reveals his loyal wife’s pain." Michael Billington for The Guardian (reviewed in Stratford)
"What Gregory Doran’s production captures so well is the wrenching cycle of false hope and disappointment that powers the Loman household." Fiona Mountford for The Evening Standard
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Théâtre
Original
44) Shakespeare in love (Original)
Joué durant 9 mois 3 semaines
Première preview: 01 July 2014
Première: 01 July 2014
Dernière: 18 April 2015
Compositeur:
Parolier:
Libettiste: Lee Hall •
Metteur en scène: Declan Donnellan •
Chorégraphe:
Avec: Orlando James (Will Shakespeare), Eve Ponsonby (Viola De Lesseps), Nicholas Asbury (Wessex), Neal Barry (Henslowe), Richard Bremmer (Tilney and Sir Robert De Lesseps), Paul Brennen (Fennyman), Suzanne Burden (Queen Elizabeth), Ryan Donaldson (Ned Alleyn), Edward Franklin (Marlowe), Ncuti Gatwa (Wabash), Gregg Lowe (Sam), Andy McKeane (Ralph), Peter Moreton (Burbage), Joy Richardson (Nurse), Charlie Tighe (Nol), Stuart Wilde (Webster). Ensemble cast will include Aaron Anthony, Jonno Davies, Peter Hannah, Nick Hart, Joshua Higgott, Sioned Jones, Sandy Murray, Ellie Nunn, Thomas Padden, Stevie Raine, Elliot Rennie and Florence Roberts
Commentaire:
Presse: "This is the best British comedy since One Man, Two Guvnors and deserves equal success." Charles Spencer for The Telegraph
"Many of the best lines admittedly come from the famous film. But this is a play that stands on its own two feet as a heady celebration of the act of theatre." Michael Billington for The Guardian
"The backstage re-angling, the impassioned presentation of the death scene of Romeo and Juliet, and the haunting intimations of Twelfth Night, sharpened by the suggestion that the censorious Master of the Revels is a forerunner of Malvolio, are all masterly. It makes you feel grateful to be alive." Paul Taylor for The Independent
"A few heavy-handed moments aside, Shakespeare in Love has a fizzy, infectious exuberance." Henry Hitchings for The Evening Standard
"Director Declan Donnellan’s show is a swooning, skittish delight, all the merrier for containing no top-flight stars." Quentin Letts for The Daily Mail
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Théâtre
43) Good People ()
Joué durant 2 mois
Première preview: 10 April 2014
Première: 15 April 2014
Dernière: 14 June 2014
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Divers •
Metteur en scène: Jonathan Kent •
Chorégraphe:
Avec: lda Staunton (Margaret), Lloyd Owen (Mike), Lorraine Ashbourne (Jean), Matthew Barker (Stevie), Susan Brown (Dottie) and Angel Coulby (Kate)
Commentaire: A Transfer from Hampstead Theatre (plus)
Presse:
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Théâtre
Revival
42) Full Monty (The) (Revival)
Joué durant 3 mois 2 semaines
Première preview: 20 February 2014
Première: 25 February 2014
Dernière: 14 June 2014
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Divers •
Metteur en scène: Daniel Evans •
Chorégraphe:
Avec: Kenny Doughty (Gaz), Craig Gazey (Lumper), Simon Rouse (Gerald), Keiran O’Brien (Guy), Roger Morlidge (Dave) , Sidney Cole (Horse), Scott Anson, Tracy Brabin, Caroline Carver, Eamonn Fleming, Elaine Glover, Rachel Lumberg, Ian Mercer
Commentaire:
Presse:
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Théâtre
Revival
41) Henry V (Revival)
Joué durant 2 mois 1 semaine
Première preview: 23 November 2013
Première: 05 December 2013
Dernière: 15 February 2014
Compositeur:
Parolier:
Libettiste: William Shakespeare •
Metteur en scène: Michael Grandage •
Chorégraphe:
Avec: Jude Law (Henry V), Harry Attwell (Grey/Gower), Jason Baughan (Bardolph/Bates M. Le Fer), Norman Bowman (Nym/Williams), Jessie Buckley (Princess Katharine), Richard Clifford (Ely/King Charles VI), Ron Cook (Pistol), Ian Drysdale (Cambridge/Constable), Noma Dumezweni (Mistress Quickly/Alice), Michael Hadley (Canterbury), Edward Harrison (Westmoreland), Christopher Heyward (Macmorris/Orleans), James Laurenson (Exeter), Ben Lloyd-Hughes (Dauphin/Scroop), Prasanna Puwanarajah (Mountjoy), Matt Ryan (Fluellen), Ashley Zhangazha (Chorus/Boy)
Commentaire:
Presse:
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Théâtre
Revival
40) A Midsummer Night's Dream (Revival)
Joué durant 2 mois
Première preview: 07 September 2013
Première: 17 September 2013
Dernière: 16 November 2013
Compositeur:
Parolier:
Libettiste: William Shakespeare •
Metteur en scène: Michael Grandage •
Chorégraphe:
Avec: Sheridan Smith (Titania), David Walliams (Bottom), Susannah Fielding (Hermia), Katherine Kingsley (Helena), Stefan Adegbola (Robin Starveling/Cobweb), Stefano Braschi (Demetrius), Padraic Delaney (Oberon/Theseus), Richard Dempsey (Peter Quince/Moth), Henry Everett (Tom Snout/Peaseblossom), Gavin Fowler (Puck/Philostrate), Alex Large (Francis Flute/Mustardseed), Sam Swainsbury (Lysander), Craig Vye (Snug the Joiner/First Fairy), Leo Wringer (Egeus)
Commentaire:
Presse: "The production – the penultimate in the Grandage Company's season at the Noel Coward Theatre – is, in the final analysis, a bit too tame, despite the hippies, to release the full wondrously disruptive power of the dream world or reverberate with the after-tremors of its transforming experience. It's undeniably attractive but the spell it casts is not deep."
Paul Taylor for The Independent
"This is an enormously spirited and fast-moving show....Grandage's production is sexy, swift and sure-footed, a constant delight to the eye and never lets us forget that this is a play about the magical capacity for change. "
Michael Billington for The Guardian
"I entered this fourth production in his [Michael Grandage] ambitious season of plays at the Noël Coward with high hopes, only to emerge feeling more than a little disappointed...pacing the show exceptionally fast. At times it feels almost perfunctory, not least in the performance of “Pyramus and Thisbe” which normally provides the play with a blissfully funny climax but here seems both rushed and curiously lacking in comic invention. Much of the problem, here and elsewhere, stems from David Walliams’s Bottom.He has always struck me as a curiously chilly comedian whereas Bottom the weaver should be all warmth, bluster and heart. "
Charles Spencer for The Daily Telegraph
"While the play’s dreamy quality is well realised, there’s not much sense of its darkness, and even in its sexier moments there is an air of efficiency rather than passion. This is a spirited and populist account of a perennial favourite, but it lacks magic."
Henry Hitchings for The Evening Standard
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Théâtre
Revival
39) Cripple of Inishmaan (The) (Revival)
Joué durant 2 mois 2 semaines
Première preview: 08 June 2013
Première: 18 June 2013
Dernière: 31 August 2013
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Divers •
Metteur en scène: Michael Grandage •
Chorégraphe:
Avec: Daniel Radcliffe (Cripple Billy), Ingrid Craigie (Kate Osbourne), Padraic Delaney (Bobbybabby), Sarah Greene (Helen McCormick), Gillian Hanna (Eileen Osbourne), Gary Lilburn (Doctor), Conor MacNeill (Bartley McCormick), Pat Shortt (ohnnypateenmike), June Watson (Mammy)
Commentaire:
Presse: "Daniel Radcliffe...fine performance in the title role...The piece is theatrically effective, outstandingly acted and often disgracefully funny... I just wish the play itself wasn’t such a thoroughly nasty piece of work. "
Charles Spencer for The Daily Telegraph
"Michael Grandage's highly adroit revival of this dark, politically incorrect 1997 comedy by Martin McDonagh...Grandage's assured production skilfully disguises the predictable unpredictability of the plot twists...But, for my taste, McDonagh's play wants too much to have its soda bread and eat it. "
Paul Taylor for The Independent
"While Radcliffe is the production’s big draw, there’s a strong sense of ensemble in Michael Grandage's polished revival of Martin McDonagh’s mid-Nineties play. "
Henry Hitchings for The Evening Standard
"It's a knowing play but one which [Daniel] Radcliffe invests with a sense of real feeling. With his twisted left arm and inflexible left leg, he suggests Billy's disability without overstating it. Radcliffe also has the precious gift, vital in a play full of narrative surprises, of seeming artful and vulnerable at the same time."
Michael Billington for The Guardian
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Original
38) Peter and Alice (Original)
Joué durant 2 mois 1 semaine
Première preview: 09 March 2013
Première: 25 March 2013
Dernière: 01 June 2013
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Divers •
Metteur en scène: Michael Grandage •
Chorégraphe:
Avec: Judi Dench (Alice), Ben Whishaw (Peter), Olly Alexander, Ruby Bentall, Stefano Braschi, Nicholas Farrell, Derek Riddell
Commentaire:
Presse: "They both [Judi Dench & Ben Whishaw] give beautiful, heart-catching performances in this haunting play that sounds profound notes of loss and grief...poignant and spellbinding production...It’s a beautiful and searching play that will live long in the memory."
Charles Spencer for Daily Telegraph
"Laboured and over-written...The evening strikes me as that true rarity: a Grandage dud."
Paul Taylor for The Independent
"In all honesty I got more out of the performance and Michael Grandage's production than I did out of John Logan's 90-minute play, which is an elegant literary conceit offering surprisingly few revelations.."
Michael Billington for The Guardian
"The play, while admirably high-minded and interesting, is inevitably a bit doom-laden. How can a story which looks back so much, not least on the losses of the First World War, be anything but sorrowful?
Quentin Letts for The Daily Mail
"It feels too wordy – the characters often tell rather than do – while trying to relate so much that happened in the pair's lives to their fictional characters sometimes feels forced.."
Julie Carpenter for Daily Express
"The production is attractive but at times laboured, and the writing is occasionally overblown...Peter and Alice is short – less than an hour and a half, without an interval – yet feels flabby. It’s not Grandage at his best, even if for fans of the stars it may still be a treat."
Henry Hitchings for Evening Standard
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Théâtre
Revival
37) Privates on Parade (Revival)
Joué durant 2 mois 3 semaines
Première preview: 01 December 2012
Première: 10 December 2012
Dernière: 02 March 2013
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Divers •
Metteur en scène: Michael Grandage •
Chorégraphe:
Avec: Simon Russell Beale (Acting Captain Terri Dennis), Chris Chan (Lee), Harry Hepple (Lance Corporal Charles Bishop), Mark Lewis Jones (Sergeant-Major Reg Drummond), John Marquez (Corporal Len Bonny), Brodie Ross (Leading Aircraftman Eric Young-Love), Sam Swainsbury (Flight-Sergeant Kevin Cartwright), Joseph Timms (Private Steven Flowers), Sadao Ueda (Cheng), Angus Wright (Major Giles Flack)
Commentaire:
Presse: "Joyous revival...it offers a heady mix of personal memoir, musical parody and jaundiced account of postwar colonial politics "
Michael Billington for The Guardian
"Outstanding production is also blessed with an irresistible star performance from Simon Russell Beale...Gloriously entertaining and often deeply touching"
Charles Spencer for The Daily Telegraph
"Brims with both warmth and extravagance...The show needs a small amount of tightening, and some will find it dated, perhaps even a period piece. But Privates on Parade is a lovely picture of the ways in which the ordinary business of military life is intertwined with agonies and absurdities."
Henry Hitchings for Evening Standard
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Musical
Original London
36) Million Dollar Quartet (Original London)
Joué durant 10 mois 2 semaines
Première preview: 08 February 2011
Première: 28 February 2011
Dernière: 14 January 2012
Compositeur:
Parolier:
Libettiste:
Metteur en scène: Eric Schaeffer •
Chorégraphe:
Avec: Cast: Robert Britton Lyons (Carl Perkins), Derek Hagen (Johnny Cash), Ben Goddard (Jerry Lee Lewis), Michael Malarkey (Elvis Presley), Gez Gerrard (Jay Perkins), Adam Riley (Fluke), Bill Ward (Sam Phillips), Francesca Jackson (Dyanne)
Commentaire: The West End production, directed by the American team, and including Robert Britton Lyons from the original New York cast, began previews on February 8th, and officially opened on February 28th. (Robert Britton Lyons played the first month only and then the role was taken over by Oliver Seymour-Marsh). The show ran until January 14th 2012 when it was suddenly withdrawn, although it had been accepting advance bookings up to October. (plus)
Presse: "What we see on stage is a celebration; and, if you're of a certain generation, it's a joy to hear once again numbers such as Hound Dog, Great Balls of Fire and I Walk the Line."
Michael Billington for The Guardian
"Efficient production the hits come thick and fast...The music is recreated in an enjoyably vigorous style...Despite the proficiency of the performances, there's a lack of visceral thrill here."
Henry Hitchings for The Evening Standard
"There are many worse jukebox shows around, and the legendary status of the original event gives this show a broad potential audience."
Ian Shuttleworth for The Financial Times
"The show succeeds triumphantly in making you feel the joy of the music-making. On this score, in every sense, there isn’t a slicker, more polished set of impressionists in town."
Mark Shenton for The Stage
"No one could claim that this is a great, original or ground-breaking piece of work, but anyone who loves rock and roll is almost certain to have a good time."
Charles Spencer for The Daily Telegraph
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Original London
35) Avenue Q (Original London)
Joué durant 2 ans 9 mois
Nb de représentations: 1179 représentations
Première preview: 01 June 2006
Première: 28 June 2006
Dernière: 28 March 2009
Fait partie de: London Run
Compositeur: Jeff Marx • Robert Lopez •
Parolier: Jeff Marx • Robert Lopez •
Libettiste: Jeff Whitty •
Metteur en scène: Jason Moore •
Chorégraphe: Ken Roberson •
Avec:
Commentaire:
Presse: MICHAEL BILLINGTON du THE GUARDIAN: "It had delighted me sufficiently...Much of the show's charm lies in the easy interaction of people and puppets...There is more wit than whimsy in the delightful Lopez-Marx numbers."
PAUL TAYLOR du THE INDEPENDENT: "What's appealing about the piece and Jason Moore's bouncy, enjoyable production is the total absence of jaded cynicism. What's less attractive is the lack of real bite...Avenue Q is about as genuinely subversive as Friends...All the same, I found it, intermittently, a lot of fun."
DOMINIC CAVENDISH du THE DAILY TELEGRAPH; "Light-weight affair."
BENEDICT NIGHTINGALE du THE TIMES: "There’s something almost refreshing in several of the jaunty-sounding songs."
NICK CURTIS du THE EVENING STANDARD: "Avenue Q's puppets tell racist jokes, screw around, download porn and generally get depressed by their crappy lives...very well executed and sporadically hilarious "
BRIAN LOGAN du TIME OUT: "Very easy to enjoy."
LISA MARTLAND du THE STAGE: "Clever and saucy libretto...Within an extraordinarily talented ensemble Julie Atherton and Jon Robyns are quite brilliant in creating these puppet personalities."
SUSANNAH CLAP du THE OBSERVER: "It's a little bit smart , fairly shrewd and self-parodying , constantly perky, sometimes funny and basically mushy."
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Parolier: Jeff Marx • Robert Lopez •
Libettiste: Jeff Whitty •
Metteur en scène: Jason Moore •
Chorégraphe: Ken Roberson •
Avec:
PAUL TAYLOR du THE INDEPENDENT: "What's appealing about the piece and Jason Moore's bouncy, enjoyable production is the total absence of jaded cynicism. What's less attractive is the lack of real bite...Avenue Q is about as genuinely subversive as Friends...All the same, I found it, intermittently, a lot of fun."
DOMINIC CAVENDISH du THE DAILY TELEGRAPH; "Light-weight affair."
BENEDICT NIGHTINGALE du THE TIMES: "There’s something almost refreshing in several of the jaunty-sounding songs."
NICK CURTIS du THE EVENING STANDARD: "Avenue Q's puppets tell racist jokes, screw around, download porn and generally get depressed by their crappy lives...very well executed and sporadically hilarious "
BRIAN LOGAN du TIME OUT: "Very easy to enjoy."
LISA MARTLAND du THE STAGE: "Clever and saucy libretto...Within an extraordinarily talented ensemble Julie Atherton and Jon Robyns are quite brilliant in creating these puppet personalities."
SUSANNAH CLAP du THE OBSERVER: "It's a little bit smart , fairly shrewd and self-parodying , constantly perky, sometimes funny and basically mushy."
Théâtre
Revival
34) Private lives (Revival)
Joué durant 5 mois 1 semaine
Première preview: 21 September 2001
Première: 21 September 2001
Dernière: 03 March 2002
Compositeur:
Parolier:
Libettiste: Noël Coward •
Metteur en scène: Howard Davies •
Chorégraphe:
Avec: Lindsay Duncan (Amanda Prynne), Alan Rickman (Elyot Chase), Alex Belcourt (Louise (a Maid)), Emma Fielding (Sybil Chase), Adam Godley (Victor Prynne)
Commentaire:
Presse:
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West End Transfer
33) Real Thing (The) (West End Transfer)
Joué durant 2 mois
Première preview: Inconnu
Première: 13 January 2000
Dernière: 18 March 2000
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Divers •
Metteur en scène: David Leveaux •
Chorégraphe:
Avec: Stephen Dillane, Jennifer Ehle, Sarah Woodward, Nigel Lindsay, Mark Bazeley, Caroline Hayes, Joshua Henderson, Oscar Pearce, Charlotte Parry
Commentaire: West End transfert du Donmar (mai à août 1999) à l'Albery Theatre (London) janvier - mars 2000 puis au Barrymore Theatre (New York) de mars - août 2000
> 1999 Evening Standard Award: Best Actor (Stephen Dillane)
> 2000 Laurence Olivier Award: Best Lighting Designer (Mark Henderson)
> 2000 Laurence Olivier Award nomination: Best Actress (Jennifer Ehle)
> 2000 Laurence Olivier Award nomination: Best Actor (Stephen Dillane)
> 2000 Laurence Olivier Award nomination: Best Director (David Leveaux)
> 2000 Tony Award: Best Actor (Stephen Dillane)
> 2000 Tony Award: Best Actress (Jennifer Ehle)
> 2000 Tony Award: Best Play Revival (The Real Thing)
> 2000 Tony Award nomination: Best Actress - Featured Rôle (Sara Woodward)
> 2000 Tony Award nomination: Best Director (David Leveaux)
> 2 Drama Desk Awards
> Drama League Award (plus)
Presse:
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Musical
Revival
32) Stepping out - the musical (Revival)
Joué durant 4 mois
Nb de représentations: 142 représentations
Première preview: 08 October 1997
Première: 28 October 1997
Dernière: 28 February 1998
Compositeur: Denis King •
Parolier: Mary Stewart-Davis •
Libettiste: Richard Harris •
Metteur en scène: Julia McKenzie •
Chorégraphe: Tudor Davies •
Avec: Liz Robertson (Mavis), Colin Wakefield (Geoffrey), Helen Bennett (Sylvia), Sharon D Clarke (Rose), Rachel Spry (Lynne), Carolyn Pickles (Vera), Barbara Young (Maxine), Helen Cotterill (Dorothy), Gwendolyn Watts (Mrs Fraser)
Commentaire: The critic, Sheridan Morley, described it as the perfect British antidote to “A Chorus Line”. Where the Broadway show was all about the desperation to succeed at all showbiz costs, the British version is about the quieter pleasures of failure and inefficiency, and the joys of pulling together. (plus)
Presse: CHARLES SPENCER of THE DAILY TELEGRAPH described the musical as " Glib and mawkish" and "Underpowered".
THE SUNDAY TIMES described the music as " Sub-Sondheimish" that does not add much to the show.
NICK CURTIS of THE EVENING STANDARD says the show is " low-key, low-brow entertainment."
SARA ABDULLA of TIME OUT disliked the music immensely saying Stepping Out has been saddled with music and lyrics "plumb butt-clenching depths of banality."
BILL HAGERTY of THE NEWS OF THE WORLD liked the show saying "Step lively for an uplifting evening."
BEN DOWELL for THE STAGE says, " Though rather amateurish, this show grows on you."
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Original London
31) Goodbye Girl (The) (Original London)
Joué durant 2 mois 1 semaine
Nb de représentations: 84 représentations
Première preview: 14 April 1997
Première: 17 April 1997
Dernière: 28 June 1997
Compositeur: Marvin Hamlisch •
Parolier: David Zippel •
Libettiste: Neil Simon •
Metteur en scène: Rob Bettinson •
Chorégraphe: Tudor Davies •
Avec: Ann Crumb (Paula), Gary Wilmot (Elliot Garfield), Lucy Evans/Dina Tree (Lucy), Shezwae Powell (Mrs Crosby), Michael Mears, Josefina Gabrieli, Cliff Brayshaw
Commentaire: In 1977 this began life as a Neil Simon movie for which Richard Dreyfuss won an Oscar as the unfortunate off-Broadway actor forced into an all-gay “Richard III”. In 1993 it was turned into a glitzy Broadway musical with Bernadette Peters and Martin Short, music by Marvin Hamlisch and lyrics by David Zippel. It closed after 188 performances and a series of negative reviews describing it as “old-fashioned and lacking in plot”. The London version was a completely new revision - with the original songs thrown out, and seven new songs added with a different lyricist - this time Don Black. However, despite all the changes and almost unanimous praise for Gary Wilmot, the critics found the whole thing sugary sweet, predictable, winsome, far too sentimental and not worth the trouble. It ran for just ten weeks. (plus)
Presse: BILL HAGERTY in the THE NEWS OF THE WORLD review agrees, he says " ...scintillating, Ann Crumb and Gary Wilmot, at his versatile best, are perfectly charming..", however he does go on to say the production "has no bite, and rarely moving, either".
JANE EDWARDS in the TIME OUT review partly agrees , she says " Wilmot's a star; the rest's a sham."
NICHOLAS DE JONGH in the EVENING STANDARD review says of the scenes when Gary Wilmot has to play the role of King Richard III as a gay transvestite, " ..rise to unfunny heights of grossness, stupidity and sheer offensiveness". I don't agree with him on this, I thought the scene was hilarious and was in tone with the rest of the show.
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Musical
Revival
30) Company (Revival)
Joué durant 3 mois 2 semaines
Nb de représentations: 124 représentations
Première preview: 07 March 1996
Première: 13 March 1996
Dernière: 29 June 1996
Compositeur: Stephen Sondheim •
Parolier: Stephen Sondheim •
Libettiste: George Furth •
Metteur en scène: Sam Mendes •
Chorégraphe: Jonathan Butterell •
Avec: Adrian Lester (Robert), Rebecca Front (Sarah), Clive Rowe (Harry), Clare Burt (Susan), Gareth Snook (Peter), Liza Sadovy (Jenny), Teddy Kempner (David), Sophie Thompson (Amy), Michael Simkins (Paul), Sheila Gish (Joanne), Paul Bentley (Larry), Anna Francolini (Marta), Kiran Hocking (Kathy), Hannah James (April)
Commentaire: Transfert dans le West End du 'Company' du Donmar Warehouse. Lawrence Olivier Awards
Best Director (Sam Mendes)
Best Actor in a Musical (Adrian Lester)
Best Supporting Performance in a Musical (Sheila Gish) (plus)
Presse:
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Original
29) Five Guys Named Moe (Original)
Joué durant 7 mois 3 semaines
Première preview: Inconnu
Première: 25 May 1995
Dernière: 13 January 1996
Fait partie de: London Run
Compositeur: Louis Jordan •
Parolier: Louis Jordan •
Libettiste: Clarke Peters •
Metteur en scène: Paulette Randall •
Chorégraphe: Charles Augins •
Avec: Tee Jaye Jenkins, Trent Kendall, Jason Pennycooke, Richard D. Sharp, Feruma Williams , Monroe Kent III (Nomax)
Commentaire: Paulette Randall was credited as director at Stratford, but when the show came to London her name had disappeared and the Charles Augins was credited as Director-Choreographer. The show involved audience participation, with the audience invited to join a conga line through the auditorium during the intervals and out into the street after the show. Under the slogan “The Joint Never Stops Jumpin’” this was a long-running success. In April 1992 it was re-created on Broadway for a year’s run and 445 performances. (plus)
Presse:
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Parolier: Louis Jordan •
Libettiste: Clarke Peters •
Metteur en scène: Paulette Randall •
Chorégraphe: Charles Augins •
Avec: Tee Jaye Jenkins, Trent Kendall, Jason Pennycooke, Richard D. Sharp, Feruma Williams , Monroe Kent III (Nomax)
Théâtre
Revival
28) Hay Fever (Revival)
Joué durant 4 mois 4 semaines
Première preview: 24 November 1992
Première: 26 November 1992
Dernière: 24 April 1993
Compositeur:
Parolier:
Libettiste: Noël Coward •
Metteur en scène: Alan Strachan •
Chorégraphe:
Avec: Maria Aitken as 'Judith Bliss' with John Standing as 'David Bliss', Abigail Cruttenden as 'Sorel Bliss', Nick Waring as 'Simon Bliss', Richard Garnett as 'Sandy Tyrell', Carmen Du Sautoy as 'Myra Arundell', Christopher Godwin as 'Richard Greatham', Sara Crowe as 'Jackie Coryton' and Maria Charles as 'Clara'
Commentaire:
Presse:
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Revival
27) Blood Brothers (Revival)
Joué durant 3 ans 3 mois 3 semaines
Première preview: Inconnu
Première: 28 July 1988
Dernière: 16 November 1991
Fait partie de: London Run
Compositeur: Willy Russel •
Parolier: Willy Russel •
Libettiste: Willy Russel •
Metteur en scène: Bill Kenwright • Bob Thomson •
Chorégraphe: ???? ???? •
Avec: Cast: Kiki Dee (Mrs Johnstone), Con O’Neill (Mickey), Robert Locke (Eddie), Annette Ekblom (Linda), Joanne Zorian (Mrs Lyons), Warwick Evans (Narrator), Terry Melia (Sammy), Jeffrey Gear
Commentaire: Le théâtre s'appelait alors l'Albery Theatre. (plus)
Presse:
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Parolier: Willy Russel •
Libettiste: Willy Russel •
Metteur en scène: Bill Kenwright • Bob Thomson •
Chorégraphe: ???? ???? •
Avec: Cast: Kiki Dee (Mrs Johnstone), Con O’Neill (Mickey), Robert Locke (Eddie), Annette Ekblom (Linda), Joanne Zorian (Mrs Lyons), Warwick Evans (Narrator), Terry Melia (Sammy), Jeffrey Gear
Musical
Original London
26) Falsettos (Original London)
Joué durant 3 semaines
Nb de représentations: 29 représentations
Première preview: Inconnu
Première: 24 March 1987
Dernière: 18 April 1987
Compositeur: William Finn •
Parolier: William Finn •
Libettiste: James Lapine • William Finn •
Metteur en scène: Paul Kerryson • Roger Haines •
Chorégraphe:
Avec: Martin Smith (Marvin), Simon Green (Whizzer), Barry James (Mendel), Paddy Navin (Trina), Damien Walker/James Trickett (Jason)
Commentaire: Originally part of a series of off-Broadway shows - In Trousers (1985), March of the Falsettos (1981) and Falsettoland (1990) - the works would later be amalgamated into an on-Broadway production “Falsettos” (1992) and would win a Tony Award for the book and score. This London production of the middle show was first staged at the Manchester Library Theatre in January 1986 and was originally planned and directed by Howard Lloyd-Lewis, the dynamic and rising artistic director at Manchester Library, who sadly died at the age of 42 from a heart attack as rehearsals began. The London audiences dismissed this virtually sung-through show as an “over-rated Broadway cult”, while New Yorkers considered it to be a masterly story of gay life in modern
times. (plus)
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Musical
Revival
25) Pump Boys and dinettes (Revival)
Joué durant 2 mois 3 semaines
Nb de représentations: 95 représentations
Première preview: 11 June 1985
Première: 11 June 1985
Dernière: 03 September 1985
Compositeur: Pump Boys and dinettes •
Parolier: Pump Boys and dinettes •
Libettiste: Pump Boys and dinettes •
Metteur en scène: David Taylor •
Chorégraphe:
Avec: Paul Jones (Jim), Brian Protheroe (L.M.) , Gary Holton (Eddie), Julian Littman (Jackson), Kiki Dee (Rhetta), Carlene Carter (Prudie)
Commentaire: The show ran on Broadway for 15 months, winning many awards and a Tony Nomination. The West End production took over from the financially disastrous “Y” at the Piccadilly, but was still presented as an “after-dinner” attraction with the stalls used for pre-show dining. It was performed in a more conventional setting when it transferred to the Albery. Cast changes during its run included Joe Brown, Clodagh Rodgers, Peter Duncan, Lyndsey de Paul, Jeremy Clyde and Chad Stuart. (plus)
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West End Transfer
24) Boy Friend (The) (West End Transfer)
Joué durant 4 mois 2 semaines
Première preview: 20 September 1984
Première: 20 September 1984
Dernière: 02 February 1985
Compositeur: Sandy Wilson •
Parolier: Sandy Wilson •
Libettiste: Sandy Wilson •
Metteur en scène: Christopher Hewett •
Chorégraphe: David Ball •
Avec: Rosemary Ashe (Hortense), Linda-Mae Brewer (Maisie), Jan Todd (Dulcie), Rossana Dane (Fay), Bronwen Stanway (Nancy), Jane Wellman (Polly Browne), Philip Day (Marcel), Bill Deamer (Pierre), Anna Ouayle (Madame Dubonnet), Bob Newent (Bobby Van Husen)
Commentaire: Transfert de l'Old Vic (plus)
Presse:
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Original London
23) Billy Bishop goes to War (Original London)
Joué durant 4 semaines
Nb de représentations: 40 représentations
Première preview: 03 June 1981
Première: 13 June 1981
Dernière: 11 July 1981
Compositeur: John MacLachlan Gray •
Parolier: Eric Peterson • John MacLachlan Gray •
Libettiste: Eric Peterson • John MacLachlan Gray •
Metteur en scène: John MacLachlan Gray •
Chorégraphe:
Avec: Eric Peterson, John MacLachlan Gray
Commentaire: This was one of Canada’s most successful and popular shows, telling the life-story of Billy Bishop, the Canadian World War I fighter-pilot, officially credited with 72 victories, making him the top Canadian ace, and possibly the top ace of the British Empire. From his early dare-devil flights he ended up as an Air Marshal, with a VC, a DSO & Bar and a host of other awards and honours. Peterson played 18 different characters, and Gray accompanied on piano and vocals. The production began with a major tour across Canada, then played Washington, Broadway, Los Angeles, the Edinburgh Festival and this season in London. (It went on to have a continuing life and in 1998, Gray and Peterson revised the show, adding one new song and presenting events through the eyes of a much older Bishop recalling his wartime exploits. They again toured the new production across Canada.) (plus)
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Musical
Revival
22) Pal Joey (Revival)
Joué durant 1 an
Nb de représentations: 415 représentations
Première preview: 01 September 1980
Première: 26 September 1980
Dernière: 26 September 1981
Compositeur: Richard Rodgers •
Parolier: Lorenz M. Hart •
Libettiste: John O'Hara •
Metteur en scène: Robert Walker •
Chorégraphe: Stuart Hopps •
Avec: Sian Phillips (Vera), Denis Lawson (Joey), Buster Skeggs (Gladys), Danielle Carson (Linda), Darlene Johnson (Melba)
Commentaire:
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Musical
Revival
21) Joseph and the Amazing Technicolor Dreamcoat (Revival)
Joué durant
Nb de représentations: 243 représentations
Première preview: Inconnu
Première: 17 February 1973
Dernière: Inconnu
Compositeur: Andrew Lloyd Webber •
Parolier: Tim Rice •
Libettiste:
Metteur en scène: Frank Dunlop •
Chorégraphe: ???? ???? •
Avec: Joseph ... Gary Bond / Jacob ... Alex McAvoy / Narrator ... Peter Reeves / Mrs. Potiphar ... Joan Heal / Potiphar ... Gavin Reed / Butler ... Andrew Robertson / Mrs. Jacob ... Julia McCarthy / Brother ... Paul Brooke, Ian Charleson, Jeremy James-Taylor
Commentaire:
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Musical
Original London
20) 1776 (Original London)
Joué durant
Nb de représentations: 168 représentations
Première preview: Inconnu
Première: 16 June 1970
Dernière: Inconnu
Compositeur: Sherman Edwards •
Parolier: Sherman Edwards •
Libettiste: Peter Stone •
Metteur en scène: Peter Hunt •
Chorégraphe: Onna White •
Avec:
Commentaire:
Presse:
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Théâtre
Original London
19) Antigone (Anouilh) (Original London)
Joué durant 3 mois 4 semaines
Nb de représentations: 39 représentations
Première preview: Inconnu
Première: 02 February 1949
Dernière: 01 June 1949
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Divers •
Metteur en scène: Laurence Olivier •
Chorégraphe:
Avec: Laurence Olivier (Chorus), Vivien Leigh (Antigone), Eileen Beldon (Nurse), Meg Maxwell (Ismene), Dan Cunningham (Haemon), George Relph (Creon), Thomas Heathcote (First Guard (Jonas)), Hugh Stewart (Second Guard (a Corporal)), George Cooper (Third Guard), Terence Morgan (Messenger), Michael Redington (Page), Helen Beck (Eurydice)
Commentaire: Laurence Olivier accepte de participer à une quatrième saison de la Old Vic Company, même s'il a été viré comme directeur. (plus)
Presse:
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Théâtre
Original London
18) Proposal (The) (Original London)
Joué durant 3 mois 4 semaines
Nb de représentations: 39 représentations
Première preview: Inconnu
Première: 02 February 1949
Dernière: 01 June 1949
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Divers •
Metteur en scène: Laurence Olivier •
Chorégraphe:
Avec:
Commentaire: Cette pièce est jouée en lever de rideau de Anigone d'Anouilh.
Laurence Olivier accepte de participer à une quatrième saison de la Old Vic Company, même s'il a été viré comme directeur. (plus)
Presse:
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Théâtre
17) Richard III ()
Joué durant 4 mois 1 semaine
Nb de représentations: 35 représentations
Première preview: Inconnu
Première: 26 January 1949
Dernière: 03 June 1949
Compositeur:
Parolier:
Libettiste: William Shakespeare •
Metteur en scène: John Burrel •
Chorégraphe:
Avec: Vivien Leigh (Lady Anne), Laurence Olivier (Richard III)
Commentaire: Laurence Olivier accepte de participer à une quatrième saison de la Old Vic Company, même s'il a été viré comme directeur. (plus)
Presse:
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Théâtre
Revival
16) School for Scandal (The) (Revival)
Joué durant 4 mois 2 semaines
Nb de représentations: 74 représentations
Première preview: Inconnu
Première: 20 January 1949
Dernière: 04 June 1949
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Divers •
Metteur en scène: Laurence Olivier •
Chorégraphe:
Avec: Vivien Leigh (Lady Teazle); Laurence Olivier (Sir Peter Teazle); Mercia Swinburne (Lady Sneerwell); Oliver Hunter (Snake); Peter Cushing (Joseph Surface); Peggy Simpson (Maria); Eileen Beldon (Mrs. Candour); Bernard Merefield (Crabtree); Dan Cunningham (Sir Benjamin Backbite); Hugh Stewart (Rowley); George Relph (Sir Oliver Surface); James Bailey (Moses); Terence Morgan (Charles Surface); Tony Gavin (Sir Harry Bumper); Thomas Heathcote (Careless); George Cooper (Sir Toby), …
Commentaire: Laurence Olivier accepte de participer à une quatrième saison de la Old Vic Company, même s'il a été viré comme directeur. (plus)
Presse:
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Théâtre
Revival
15) King Lear (Revival)
Joué durant 3 mois 1 semaine
Nb de représentations: 42 représentations
Première preview: Inconnu
Première: 24 September 1946
Dernière: 04 January 1947
Compositeur:
Parolier:
Libettiste: William Shakespeare •
Metteur en scène: Laurence Olivier •
Chorégraphe:
Avec: Laurence Olivier (Lear)
Commentaire: Un spectacle de la troisième - et dernière - saison de la Old Vic Company au New Theatre (Noël Coward Th) sous la direction du trio John Burrel, Laurence Oliver et Ralph Richardson. (plus)
Presse:
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14) Critic (The) ()
Joué durant 6 mois 1 semaine
Nb de représentations: 76 représentations
Première preview: Inconnu
Première: 18 October 1945
Dernière: 27 April 1946
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Divers •
Metteur en scène: Miles Malleson •
Chorégraphe:
Avec: Laurence Olivier (Mr. Puff), Harcourt Williams, George Curzon, Ralph Richardson, Ray Jackson, Sybil Thorndike, Joyce Redman, Margaret Leighton, Nicolette Bernard, Miles Malleson, George Relph, Michael Warre, Jane Wenham, Elizabeth Osman, Nicholas Hannen, Robin Lloyd, Royden Godfrey, Norman Feasey, John Garley, Frank Duncan, George Cooper, George Rose, Michael Raghan, Paul Stephenson, Sydney Tafler, Peter Copley, Joseph James, Walter Outhwaite, Kenneth Edwards, Max Brent, Maurice Norman, William Monk, Diana Maddox, Gilbert Robinson, Jack Taylor, Robert Cameron, John Ainsworth, Oscar Quitak
Commentaire: Un spectacle de la seconde saison de la Old Vic Company au New Theatre (Noël Coward Th) sous la direction du trio John Burrel, Laurence Oliver et Ralph Richardson.
Joué le même soir que "Œdipus Tyrannus" (plus)
Presse:
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Théâtre
13) Œdipus Tyrannus ()
Joué durant 6 mois 1 semaine
Nb de représentations: 76 représentations
Première preview: Inconnu
Première: 18 October 1945
Dernière: 27 April 1946
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Divers •
Metteur en scène: Michael Saint-Denis •
Chorégraphe:
Avec: Laurence Olivier (Oedipus), Harcourt Williams, George Curzon, Ralph Richardson, Ray Jackson, Sybil Thorndike, Joyce Redman, Margaret Leighton, Nicolette Bernard, Miles Malleson, George Relph, Michael Warre, Jane Wenham, Elizabeth Osman, Nicholas Hannen, Robin Lloyd, Royden Godfrey, Norman Feasey, John Garley, Frank Duncan, George Cooper, George Rose, Michael Raghan, Paul Stephenson, Sydney Tafler, Peter Copley, Joseph James, Walter Outhwaite, Kenneth Edwards, Max Brent, Maurice Norman, William Monk, Diana Maddox, Gilbert Robinson, Jack Taylor, Robert Cameron, John Ainsworth, Oscar Quitak
Commentaire: Un spectacle de la seconde saison de la Old Vic Company au New Theatre (Noël Coward Th) sous la direction du trio John Burrel, Laurence Oliver et Ralph Richardson.
Joué le même soir que "The Critic" (plus)
Presse:
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Théâtre
12) Henry IV, Part II ()
Joué durant 6 mois 1 semaine
Nb de représentations: 59 représentations
Première preview: Inconnu
Première: 03 October 1945
Dernière: 03 April 1946
Compositeur:
Parolier:
Libettiste: William Shakespeare •
Metteur en scène: John Burrel •
Chorégraphe:
Avec: Laurence Olivier (Justice Shallow)
Commentaire: Un spectacle de la seconde saison de la Old Vic Company au New Theatre (Noël Coward Th) sous la direction du trio John Burrel, Laurence Oliver et Ralph Richardson. (plus)
Presse:
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Théâtre
11) Henry IV, Part I ()
Joué durant 6 mois 2 semaines
Nb de représentations: 69 représentations
Première preview: Inconnu
Première: 26 September 1945
Dernière: 13 April 1946
Compositeur:
Parolier:
Libettiste: William Shakespeare •
Metteur en scène: John Burrel •
Chorégraphe:
Avec: Laurence Olivier (Hotspur)
Commentaire: Un spectacle de la seconde saison de la Old Vic Company au New Theatre (Noël Coward Th) sous la direction du trio John Burrel, Laurence Oliver et Ralph Richardson. (plus)
Presse:
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Théâtre
Revival
10) Oncle Vania (Revival)
Joué durant 2 mois 3 semaines
Nb de représentations: 25 représentations
Première preview: Inconnu
Première: 16 January 1945
Dernière: 12 April 1945
Compositeur:
Parolier:
Libettiste: Anton Chekhov •
Metteur en scène:
Chorégraphe:
Avec: Laurence Olivier (Dr Astrov)
Commentaire: Un spectacle de la première saison de la Old Vic Company au New Theatre (Noël Coward Th) sous la direction du trio John Burrel, Laurence Oliver et Ralph Richardson. (plus)
Presse:
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Théâtre
Revival
9) Richard III (Revival)
Joué durant 7 mois
Nb de représentations: 83 représentations
Première preview: Inconnu
Première: 13 September 1944
Dernière: 11 April 1945
Compositeur:
Parolier:
Libettiste: William Shakespeare •
Metteur en scène: John Burrel •
Chorégraphe:
Avec: Laurence Olivier (Richard III), Joyce Redman, Margaret Leighton, Sybil Thorndike, Michael Warre, Nicholas Hannen, Harcourt Williams, George Relph, Maurice Nicholas, Bay White, Charles Leno, Sydney Tafler, Nancy Nevinson, Ralph Richardson
Commentaire: Un spectacle de la première saison de la Old Vic Company au New Theatre (Noël Coward Th) sous la direction du trio John Burrel, Laurence Oliver et Ralph Richardson. (plus)
Presse: Dans Richard III, selon Billington, le triomphe d'Olivier est total: «A un tel point que c'est le rôle où on l'a le plus imité et dont l'interprétation est restée inégalée pendant plus de 40 ans, jusqu'à Antony Sher».
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Revival
8) Arms and the Man (Revival)
Joué durant 7 mois 1 semaine
Nb de représentations: 67 représentations
Première preview: Inconnu
Première: 05 September 1944
Dernière: 13 April 1945
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Divers •
Metteur en scène: Tyrone Guthrie •
Chorégraphe:
Avec: Ralph Richardson (Bluntschli), Margaret Leighton (Raina Petkoff), Joyce Redman (Louka) et Laurence Olivier (Major Sergius Saranoff)
Commentaire: Un spectacle de la première saison de la Old Vic Company au New Theatre (Noël Coward Th) sous la direction du trio John Burrel, Laurence Oliver et Ralph Richardson.
Il s'agit de l'une de plus prestigieuses versions de cette pièce.
"Olivier thought Sergius a humbug, a buffoon, a blackguard, a coward, 'a bloody awful part' until Tyrone Guthrie said he would never succeed in the role until he learned to love Sergius. Olivier, spurred and moustachioed, was high camp" Robert Tanitch.
Ce spectacle a été joué auparavant à l'Opera House de Manchester du 7 au 12 août 1944. (plus)
Presse:
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Revival
7) Peer Gynt (Revival)
Joué durant 7 mois 2 semaines
Nb de représentations: 83 représentations
Première preview: Inconnu
Première: 31 August 1944
Dernière: 14 April 1945
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Divers •
Metteur en scène:
Chorégraphe:
Avec: Ralph Richardson, Sybil Thorndike, Joyce Redman, Margaret Leighton, Nicholas Hannen, Vida Hope, Harcourt Williams, George Relph, Laurence Olivier (The Button Moulder)
Commentaire: Un spectacle de la première saison de la Old Vic Company au New Theatre (Noël Coward Th) sous la direction du trio John Burrel, Laurence Oliver et Ralph Richardson. (plus)
Presse:
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Théâtre
Revival
6) Romeo and Juliet (Revival)
Joué durant 5 mois 2 semaines
Nb de représentations: 186 représentations
Première preview: Inconnu
Première: 16 October 1935
Dernière: 28 March 1936
Compositeur:
Parolier:
Libettiste: William Shakespeare •
Metteur en scène: John Gielgud •
Chorégraphe:
Avec: Peggy Ashcroft (Juliet), John Gielgud (Romeo & Mercutio), Laurence Oliver (Romeo & Mercutio)
Commentaire: Gielgud et Laurence Olivier ont alterné dans les rôles de Romeo et de Mercutio. Cette version a été un énorme succès au Box Office.
Olivier a comparé plus tard son interprétration et celle de Gielgud: "John, all spiritual, all spirituality, all beauty, all abstract things; and myself as all earth, blood, humanity ... I've always felt that John missed the lower half and that made me go for the other ... But whatever it was, when I was playing Romeo I was carrying a torch, I was trying to sell realism in Shakespeare." (plus)
Presse:
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Théâtre
Original
5) Queen of Scots (Original)
Joué durant 3 mois
Nb de représentations: 106 représentations
Première preview: Inconnu
Première: 08 June 1934
Dernière: 08 September 1934
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Divers •
Metteur en scène: John Gielgud •
Chorégraphe:
Avec: Glen Byam Shaw, Campbell Gullan, Laurence Olivier (Bothwell)
Commentaire:
Presse:
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Original London
4) Chalk Circle (The) (Original London)
Joué durant 1 mois 1 semaine
Nb de représentations: 48 représentations
Première preview: Inconnu
Première: 14 March 1929
Dernière: 20 April 1929
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Divers •
Metteur en scène: Basil Dean •
Chorégraphe:
Avec: Anna May Wong, Rose Quong, Laurence Olivier (Prince Pao)
Commentaire:
Presse:
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Théâtre
Revival
2) Macbeth (Revival)
Joué durant
Première preview: Inconnu
Première: Inconnu
Dernière: 15 January 1938
Fait partie de: London Run
Compositeur:
Parolier:
Libettiste: William Shakespeare •
Metteur en scène: Michael Saint-Denis •
Chorégraphe:
Avec: Laurence Oliver (Macbeth), Judith Anderson, John Rae, Ellis Irving, Basil C.Langton, Gordon Miller, Vera Poliakoff
Commentaire: Pour Laurence Olivier, il s'agit d'un spectacle de la seconde saison qu'il passa à l'Old Vic dans les années '30
Le spectacle s'est joué à l'Old Vic et a été transféré au New Theatre (Actuel Noël Coward Theatre) (plus)
Presse:
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Parolier:
Libettiste: William Shakespeare •
Metteur en scène: Michael Saint-Denis •
Chorégraphe:
Avec: Laurence Oliver (Macbeth), Judith Anderson, John Rae, Ellis Irving, Basil C.Langton, Gordon Miller, Vera Poliakoff
Le spectacle s'est joué à l'Old Vic et a été transféré au New Theatre (Actuel Noël Coward Theatre) (plus)
