Novello Theatre
Londres - Angleterre

Construction: 1905

Topologie du théâtre

Nombre de salles actives: 1
Salle 1: (1050)    1905 - Actif

Accès

En métro: Covent Garden, Holborn and Charing Cross
En bus: 6, 9, 11, 13 and 15
Adresse: The Aldwych London WC2B 4LD

Evolution

Bâtiment: 1905. Waldorf Theatre, designed by W. G. R. Sprague for the Waldorf Theatre Syndicate Ltd, opens on 22 May / 1909. Becomes Strand Theatre and Whitney Theatre 1911 / 1913. Again renamed Strand Theatre / 2005. Renamed Novello Theatre
Nom: Waldorf Theatre / Strand Theatre / Whitney Theatre

Propriétaire(s)

Delfont Mackintosh Theatres

Remarquable

Last three-tier theatre to be built in London / The exemplary care given by Sprague to developing his elevational treatment of the theatre / The sensitive Louis XIV design of the interior
1050 
1905 - Actif

Mamma Mia! est prolongé jusqu'au 25 octbre 2014 à Londres

 Londres (Angleterre)
 Novello Theatre  
 Mamma Mia!  
 Publié le 05 nov. 2013

In the first years of the 20th century the townscape of the West End of London was witnessing immense changes, designed to ease increasing traffic congestion but with the secondary aim of eradicating swaths of undesirable slum dwellings. Amid extensive demolition works, Aldwych was opened in 1905, and among the first buildings to be constructed on this wide, sweeping, crescent roadway were the Strand and Aldwych Theatres, designed by architect W. G. R. Sprague and opened on 22 May and 23 December 1905 respectively. The Strand Theatre, originally the Waldorf, financed by the Waldorf Theatre Syndicate Ltd, is the more southerly, situated on the corner of Catherine Street, while the Aldwych occupies the more northerly angle with Drury Lane. Between the two, and completing the group, is the Waldorf Hotel of 1908 (for more detail, see the Aldwych Theatre, page 22). The theatre’s name was changed to the Strand in 1909.
Aldwych Is neither a centre of fashion nor an epicurean paradise; its shops are small and alive with workers from surrounding offices, and somehow it seems to have fallen off the edge of Covent Garden. Opposite the theatre, In Aldwych, is India House (1930), a building of considerable interest designed by Sir Herbert Baker and A. T. Scott, incorporating well-researched decorative motifs and a certain colonial elegance. In Catherine Street, the stone-faced Duchess Theatre overlooks the Strand’s long flank elevation. Prior to its completion the Strand was leased to the American Shubert brothers, but only days before the opening Sam Shubert was tragically killed in an accident; Lee Shubert took on the management role, but held it only for a matter of months.
Seen from the Aldwych, the theatres are designed as a Portland stone faced free classical reverse pair, completing an almost symmetrical composition with the Waldorf Hotel. However, whereas the flank elevation to the Aldwych Theatre peters out in Drury Lane, the more exposed Strand elevation to Catherine Street continues as a Portland-stone four-storey, 10-bay classical façade divided by giant pilasters above a channelled ground storey.
Internally the theatre Is extremely attractive, Sprague here working In partnership with the talented interior decorator Hubert van Hooydonk. The corner entrance vestibule with its ‘fruity’ ceiling mouldings leads into an elegant Corinthian- pilastered white and gold foyer, incorporating a fine dark, polished timber pay-box front. The cloakroom, opening off the foyer, retains - preserved from modernization by who knows what apparently accidental factors - its attractive green and cream glazed tile decoration, and the beautifully designed main staircase rises to give access to an elliptical dress-circle refreshment saloon of quality, again decorated in white and gold with fluted Corinthian pilasters above a panelled dado.
The lovely three-tier cantilevered auditorium, the last In London to incorporate the third tier, is decorated in a mainly white and gold Louis XIV style. The proscenium, with its stylized lotus flower and acanthus decoration, and its dramatic tympanum depicting Apollo, in his chariot, reining In four fiery horses against a stylized sun, is flanked by stage boxes, themselves emphasized by giant bracketed Ionic pilasters crowned with putti. The dress-circle front is decorated with swags of fruit above a pulvinated bay-leaf band, while the upper-circle and balcony fronts are more simple, utilizing grotesque laughing masks and sunbursts. The domed and painted auditorium ceiling has recently undergone extensive and intricate works to provide a virtually Invisible air- conditioning system.
The theatre opened with II Maestro dl Capella, but almost immediately became the temporary home of His Majesty’s Theatre company while alterations were made to their building. Over the years the Strand has produced farce and musical comedy, opera and Shakespeare. A Funny Thing Happened on the Way to the Forum was a hit here in the mid-1960s, and in the 1970s No Sex Please - We're British had a popular extended run.
Since 1991 the building has been In the ownership of Delfont Mackintosh Theatres who In 2005 carried out extensive refurbishment to celebrate the theatre’s centenary. On 8 December 2005, the theatre reopened as the Novello Theatre, honouring the memory of the great Ivor Novello, who lived in a flat above the building for almost 40 years.

1905. Waldorf Theatre, designed by W. G. R. Sprague for the Waldorf Theatre Syndicate Ltd, opens on 22 May / 1909. Becomes Strand Theatre and Whitney Theatre 1911 / 1913. Again renamed Strand Theatre / 2005. Renamed Novello Theatre

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Infos complémentaires:

The stalls exist as one large block with no central aisle. The section is exceptionally well raked, after the initial first three rows, meaning views even at the back of the section are brilliant. The auditorium feels a lot wider than it is, but as each row only has a slight curve even the end seats are within the proscenium arch of the stage, meaning all views are looking directly at the stage and not side on. The Dress Circle overhang begins midway back at around row J, and only begins to affect the section at row S, where the top of the theatre is not visible. Depending on the production this does not matter too much. The rear stalls do not feel obstructed or cramped unlike other theatres, and the bright décor and mirrors make if feel quite spacious. Leg room on the whole is relatively good, as well as the width of the seats. The front three rows are the worst in this section, with the front row often sold as Day Seats. Due to the height of the stage, patrons in these seats will find themselves looking up at the action. Only buy these if they are discounted.

The Dress Circle again provides pretty clear views of the stage from all areas. The section is just above street level and so feels low and close to the stage. The section is divided into a main central block with slips running along either side of the horse shoe shaped balcony. These seats look across the stage rather than straight on, providing a restricted view of the action. Choose these only when discounted.

Within the main Dress Circle section views are unobstructed from most seats. There is no safety rail running around the balcony, so no immediate obstructions. The section is raked well, giving views over the heads of the audience in front. Because of the shape of the balcony the seats on the extreme ends of rows have a view of the side wall which cuts into the stage, although this is not too much of a problem.

Leg room is particularly tight in the first two rows. As there is no central aisle, people requiring extra legroom have to sit on either end of the row. The overhang from the Grand Circle begins to affect those sitting in the final four rows, taking out the view of the top of the stage. For many productions this does not matter.

The Grand Circle is similar in shape to the Dress Circle, divided into a main section with slips running along the curve of the balcony. Again, these seats are sometimes worth it only when discounted. Seats in this section follow the shape of the theatre, with those at the end of each row becoming obstructed by the sides of the auditorium. A low metal safety rail runs along the balcony but is mainly unobtrusive. At the end of the first row the rail is double in height, affecting the view for those sitting on either end of row A, or the same seats the row behind. Avoid these seats unless they happen to be discounted. Seats towards the back half of the section can become affected when action occurs right at the front of the stage. If the audience leans forward to see the stage, the view will become obstructed. Legroom in this section is also greatly reduced.

The Balcony sits high above the stage, and despite having clear views looks directly down on the action. Those who have a fear of heights should not select to sit here! There is a larger safety bar that runs the length of the balcony, affecting the view for those in the front row, as well as the row behind. If you are willing to peer through the middle this may be less of a problem. The rake of the section makes it feel particularly high and unsteady, but it is certainly an experience! Legroom is tight throughout this whole section, and the seats are not as comfortable as other levels.

Waldorf Theatre / Strand Theatre / Whitney Theatre

Last three-tier theatre to be built in London / The exemplary care given by Sprague to developing his elevational treatment of the theatre / The sensitive Louis XIV design of the interior

Mamma Mia!

[06 sept. 12 - Open end]

Musical
Original

1) Mamma Mia! (Original)

Joué durant  8 ans 2 semaines actuellement

Première preview: jeu. 06 septembre 2012
Première: jeu. 06 septembre 2012
Dernière: Open end

Compositeur: Benny Andersson • Björn Ulvaeus •  
Parolier: Benny Andersson • Björn Ulvaeus •  
Libettiste: Catherine Johnson •  
Metteur en scène: Phyllida Lloyd •  
Chorégraphe: Anthony Van Laast •  
Avec:  


Commentaire: Incorporating some two dozen ABBA songs, this had a workable and funny plot-line, inspired by Willy Russell’s “Shirley Valentine” and a Gina Lollobrigida film called “Buona Sera, Mrs Campbell”. Mamma Mia” was camp, fast-moving, great fun and a big hit with the critics and public alike. (It was a Broadway hit in 2001, and in 2008 became a successful film, with Meryl Streep and Pierce Brosnan).

Prince Edward Theatre 6/4/1999 > 29/5/2004
Prince of Wales Theatre 9/6/2004 > 1/9/2012
Novello Theatre 6/9/2012 > ????  (plus) 


Presse: NICHOLAS DE JONGH of the EVENING STANDARD says, "Thank you for the music…shame about the musical".

BENEDICT NIGHTINGALE of THE TIMES says, " With so much fun in the theatrical air, the rest of us might as well indulge them."

SHERIDEN MORLEY on TELETEXT really enjoyed the show saying, "After a shaky start, Mamma Mia soars" and goes on to say, "It's a genuinely touching and comic book allied to some of the greatest and most theatrical pop songs ever written."

KATE BASSETT of THE DAILY TELEGRAPH says, "Unfortunately, Johnson's dialogue often sounds like a banal soap opera" and goes onto say, "The cast are clearly having a hoot, almost raising their eyebrows when they have to break into lyrics that are barely relevant."

THE FINANCIAL TIMES says, "You shouldn't take Mamma Mia! seriously: which is precisely why it proves to be one of the few good musicals on the London stage today."

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Magie
West End Transfer

22) Derren Brown: Svengali (West End Transfer)

Joué durant  3 semaines

Première preview: jeu. 12 juillet 2012
Première: mar. 17 juillet 2012
Dernière: sam. 11 août 2012

Compositeur:  
Parolier:  
Libettiste:  
Metteur en scène: Polly Findlay •  
Chorégraphe: Aucun •  
Avec: Derren Brown 


Commentaire:   


Presse:

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Théâtre
West End Transfer

21) Noises Off (West End Transfer)

Joué durant  3 mois 1 semaine

Première preview: sam. 24 mars 2012
Première: sam. 24 mars 2012
Dernière: sam. 30 juin 2012

Compositeur:  
Parolier:  
Libettiste: Michael Frayn •  
Metteur en scène: Lindsay Posner •  
Chorégraphe:  
Avec: Jonathan Coy (Frederick Fellowes), Janie Dee (Belinda Blair), Robert Glenister (Lloyd Dallas), Jamie Glover (Roger Tramplemain), Celia Imrie (Dotty Otley), Karl Johnson (Selsdon Mowbray), Paul Ready (Tim Allgood) 


Commentaire: Tranfert de l'Old Vic Theatre  (plus) 


Presse:

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Musical
Revival

20) Crazy for you (Revival)

Joué durant  5 mois 1 semaine

Première preview: sam. 08 octobre 2011
Première: sam. 08 octobre 2011
Dernière: sam. 17 mars 2012

Compositeur: George Gershwin •  
Parolier: Ira Gershwin •  
Libettiste: Ken Ludwig •  
Metteur en scène: Timothy Sheader •  
Chorégraphe: Stephen Mear •  
Avec: Bela Zangler … David Burt
Bobby Child … Sean Palmer
Polly Baker … Clare Foster
Irene Roth … Kim Medcalf
Mother/Patricia … Harriet Thorpe
Lank … Michael McKell
Tess … Rachel Stanley
Patsy … Alexis Owen Hobbs
Eugene … Samuel Holmes
Everett … Peter Martin
Follies Girl … Lucy Anderson / Jessica Buckby / Cara Elston / Charlene Ford / Jo Goodwin / Amy Griffiths
Cowboy … Harry Morrison / James O'Connell / Carl Sanderson / Phil Snowden / Stephen Whitson
Ensemble … Richard Jones / Josh Lacey / Jo Morris 


Commentaire: This open-air theatre revival with a nine-piece orchestra, was unanimously praised for the staging, the central performances, and for the brilliant choreography by Stephen Mear. As a result it transferred to the Novello Theatre for a further six month run (though it was originally taking bookings for nine months - up to the end of July 2012.)  (plus) 


Presse: ‘OUTRAGEOUSLY FEEL-GOOD…NOTHING SHORT OF SUBLIME’ Metro
‘BLISSFUL. A DELIRIOUS REVIVAL OF GERSHWIN’S MUSICAL COMEDY‘ Daily Telegraph
‘CRAZILY ENJOYABLE TREAT OF A MUSICAL. THE BEST SCORE IN LONDON. A HILARIOUS TALE…BLISSFUL CHOREOGRAPHY’ Sunday Express
‘SUPERB. THE SHOW BRIMS WITH A SASSY JOIE DE VIVRE. WHO COULD ASK FOR ANYTHING MORE?’ Evening Standard
‘A GLORIOUS BLAZE OF COLOUR AND EXUBERANCE’ Sunday telegraph
‘SHEER JOY. A TREASURE TROVE OF SHOW TUNES. YOU’LL GO CRAZY FOR GERSHWIN’ Daily Mail
‘Irresistible. Outrageously Entertaining’ The Times
‘This is a tonic for gloomy times’ Financial Times
‘PERFECT FAMILY ENTERTAINMENT…SENSATIONAL…..IRRESISTABLE…A GUARANTEED MOOD ENHANCER!’ Mail on Sunday
'WHAT BETTER WAY TO CHASE OFF THE RECESSION BLUES THAN WITH SHOWGIRLS AND COWBOYS? WATCH THIS AND YOU WILL SPEND THREE HOURS WITH A GORMLESS GRIN ON YOUR FACE.’ The Independent
‘PACKED FULL OF BIG NUMBERS WHO COULD ASK FOR ANYTHING MORE?’ Daily Express

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Musical
Original

19) Betty Blue Eyes (Original)

Joué durant  5 mois 2 semaines

Première preview: sam. 19 mars 2011
Première: mer. 13 avril 2011
Dernière: sam. 24 septembre 2011

Compositeur: George Stiles •  
Parolier: Anthony Drewe •  
Libettiste: Daniel Lipman • Ron Cowen •  
Metteur en scène: Richard Eyre •  
Chorégraphe: Stephen Mear •  
Avec: Sarah Lancashire (Joyce Chilvers), Reece Shearsmith (Gilbert Chilvers), Ann Emery (Mother Dear), Adrian Scarborough (Inspector Wormold), David Bamber (Dr Swaby), Jack Edwards (Henry Allardyce), Mark Meadows (Francis Lockwood), Annalisa Rossi (Princess Elizabeth), Dan Burton (Prince Phillip), Clare Machin, Laura Medforth, Gemma Wardle, Hollie Taylor 


Commentaire: With an absolute top-drawer cast and production team, and with a superb animatronic pig (voiced by none less than Kylie Minogue) this was a perfectly timed show set in 1947 austerity Britain at the time of a Royal Wedding ... thus echoing 2011 Britain in a deep recession with the forthcoming Royal Wedding of William and Katharine.  (plus) 


Presse: "Superbly endearing and entertaining show"
Charles Spencer for The Daily Telegraph

"It's a production with heart and an unusual mix of gentleness and naughtiness."
Henry Hitchings for The Evening Standrad

"Musicals these days are constantly being based on movies. But this witty and delightful adaptation of the 1984 film A Private Function strikes me as better than the original."
Michael Billington for The Guardian

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Musical
West End Transfer

18) Spring Awakening (West End Transfer)   

Joué durant  2 mois

Première preview: sam. 21 mars 2009
Première: jeu. 26 mars 2009
Dernière: sam. 30 mai 2009

Compositeur: Duncan Sheik •  
Parolier: Steven Sater •  
Libettiste: Steven Sater •  
Metteur en scène: Michael Mayer •  
Chorégraphe: Bill T Jones •  
Avec: Charlotte Wakefield (Wendela), Aneurin Barnard (Melchior), Iwan Rheon (Moritz), Lucy Barker (Ilse), Sian Thomas (Mother/ Women), Richard Cordery (Headmaster/Men), Evelyn Hoskins, Natasha Barnes, Hayley Gallivan, Edd Judge, Jamie Blackley, Harry MacEntire, Jos Slovick 


Commentaire: The London Cast won 4 awards at the Laurence Olivier Awards 2010. Aneurin Barnard won an award for best actor in a musical/entertainment. Iwan Rheon won an award for best supporting role in a musical/entertainment. Spring Awakening London as a show won best musical and best sound  (plus) 


Presse: ***** 'Here it is at last, the answer to one's prayers - a new musical bursting with ambition and achievement... IT'S A BLAST.' Daily Telegraph

***** 'Breathtakingly, outrageously brilliant.' thelondonpaper

***** 'AN ABSOLUTE MUST-SEE and by far the best new musical in London for ages.' whatsonstage.com


***** 'It ticks enough boxes for excellence - acting, design, choreography, theatrical innovation, emotional power, even the lighting - to be A MUST SEE.' Daily Express

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Musical
Original

17) Eurobeat almost Eurovision (Original)

Joué durant  1 mois 3 semaines

Première preview: jeu. 04 septembre 2008
Première: mar. 09 septembre 2008
Dernière: sam. 01 novembre 2008

Compositeur: *** Divers •  
Parolier: *** Divers •  
Libettiste: *** Divers •  
Metteur en scène: Glynn Nicholas •  
Chorégraphe: Andre Hallsworth • Natalie Marsland •  
Avec: Les Dennis (Sergei), Mel Giedroyc (Boyka ), Sarah Boulton, Emma Brooke, Sarah Cahalarn, Emma Cannon, Adam Charles-Hills, Mairi Cowieson, Scott Garnham, Lewis Griffiths, Natasha Jayetileke, Arvid Larsen, Kay Murphy, Craig Perry, Sergio Priftis, Carl Stallwood. 


Commentaire: For some, this was a glorious spoof of everything we love about the Eurovision Song Contest, while for others it was an embarrassing xenophobic piece of rubbish, based entirely on the unpleasant concept that all foreigners are funny. Just like the Eurovision Song Contest itself, the fans loved every camp and tacky moment, and the non-fans hated it from beginning to end. This originated at the 2007 Edinburgh Festival Fringe where it won Best Musical. Unfortunately it only managed a ten week run in London, closing on November 15th.  (plus) 


Presse: ALICE JONES for THE INDEPENDENT says, "Supremely silly and loopily enjoyable...I can't remember laughing this much (or ever making quite so much noise) in a theatre."
NICHOLAS DE JONGH for THE EVENING STANDARD says, "The sight and sound of Eurobeat is cruel and unusual treatment, in other words torture."
CHARLES SPENCER for THE DAILY TELEGRAPH says, "The most exuberantly enjoyable musical to have opened in the West End since Hairspray. As the sign outside the theatre promises: you'll laugh until the tears run down your legs."
SAM MARLOWE for THE TIMES says, "well-honed, sharp-eyed and slickly performed...This show is entirely pointless, but its OTT energy and shameless silliness are oddly seductive. Forget high culture; this is high camp, and in its own unpretentious way it’s a winner."

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Musical
Original

16) Desperately seeking Susan (Original)

Joué durant  1 mois

Nb de représentations: 36 représentations
Première preview: mer. 17 octobre 2007
Première: jeu. 15 novembre 2007
Dernière: sam. 15 décembre 2007

Compositeur: Deborah Harry •  
Parolier: Deborah Harry •  
Libettiste: Peter Michael Marino •  
Metteur en scène: Angus Jackson •  
Chorégraphe: Andy Blankenbuehler •  
Avec: Kelly Price (Roberta Glass), Jonathan Wrather (Gary), Emma Williams (Susan), Alec Newman (Dez ), Steven Houghton, Matt Flint, Leanne Best, Victoria Hamitlon-Barritt, Kaisa Hammarlund, Mark McGee 


Commentaire: Previews began on October 16th and the show opened on November 15th - by which time West End gossip had already nicknamed it “Desperately Seeking the Exit”. Despite a star- studded opening night, the musical was critically mauled, and within a fortnight announced its closure, the final performance being on December 15th, by which time the losses had amounted to more than £3.5 million.  (plus) 


Presse:

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Musical
Original London

15) Drowsy Chaperone (The) (Original London)

Joué durant  1 mois 4 semaines

Première preview: lun. 14 mai 2007
Première: mer. 06 juin 2007
Dernière: sam. 04 août 2007

Compositeur: Greg Morrison • Lisa Lambert •  
Parolier: Greg Morrison • Lisa Lambert •  
Libettiste: Bob Martin • Don McKellar •  
Metteur en scène: Casey Nicholaw •  
Chorégraphe: Casey Nicholaw •  
Avec:  


Commentaire:   


Presse: NICHOLAS DE JONGH for THE EVENING STANDARD says, "Surprises and delights." MICHAEL BILLINGTON for THE GUARDIAN says, " For all the energy of Casey Nicholaw's production, I would readily sacrifice the whole of this glitzy charade for 10 minutes of the real thing by Rodgers and Hart, Cole Porter or Jerome Kern." CHARLES SPENCER for THE DAILY TELEGRAPH says, "Delightful show that has a strong claim to being one of the silliest musicals ever written...Only the self-importantly serious and the chronically depressed will fail to enjoy this preposterously entertaining evening." SAM MARLOWE for THE TIMES says, "Affectionate spoof...However clever and appealing it is, this musical is an airy confection without much substance." PAUL TAYLOR for THE INDEPENDENT says, "The piece fails to work on any level."

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Musical
Original London

14) Footloose (Original London)

Joué durant  6 mois 3 semaines

Première preview: sam. 08 avril 2006
Première: mar. 18 avril 2006
Dernière: sam. 11 novembre 2006

Compositeur: Tom Snow •  
Parolier: Dean Pitchford •  
Libettiste: Bobbie Walter • Dean Pitchford •  
Metteur en scène: Karen Bruce •  
Chorégraphe: Karen Bruce •  
Avec:  


Commentaire:   


Presse: FIONA MOUNTFORD for THE EVENING STANDARD says, "The story has two left feet...The non-musical moments contain a lot of badly placed emotional gloop for the leads to negotiate..." BRIAN LOGAN for THE GUARDIAN says, "It's all nonsense, of course, but life-affirming nonsense, which counsels those in search of heaven to leave the Good Book alone, and head for the nearest dancefloor. Amen to that!" DOMINIC CAVENDISH for THE DAILY TELEGRAPH says, " Karen Bruce's production is all revved-up but can't disguise the fact that it has no great journey to take us on...it now just looks hopelessly out of date." SAM MARLOWE for THE TIMES says, "Staging is frenetic but uninspired."

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Musical
Original London

13) Footloose (Original London)

Joué durant  2 mois

Nb de représentations: 123 représentations
Première preview: sam. 08 avril 2006
Première: mer. 12 avril 2006
Dernière: dim. 11 juin 2006

Compositeur: Tom Snow •  
Parolier: Dean Pitchford •  
Libettiste: Dean Pitchford • Walter Bobbie •  
Metteur en scène: Karen Bruce •  
Chorégraphe: Karen Bruce •  
Avec: Tommy Sherlock (Ren), Nikki Belsher (Ethel), Julian Agnew (Rev Shaw Moore), Miria Parvin (Ariel), Lyn Paul (Vi Moore), Johnny Shentall, Giovanni Spano, Gemma O’Duffy, Sophia Normvete, Lisa Gorgin, Bob Harms, Joseph Prouse, Hugh Osborne 


Commentaire: Cette version est la fin d'une tournée …
This production opened in Cardiff and had been on tour since January before moving into the West End. In June, at the end of his six months’ contract, Stephen McGann left the cast and was replaced by David Essex. In spite of excellent bookings the West End run ended in November because the Novello Theatre had been pre-committed to a Royal Shakespeare Company season. (There had been an earlier UK touring production in 2004, starting in Plymouth and running for six months, directed by Paul Kerryson.)  (plus) 


Presse:

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Musical
Original London

12) Buddy (Original London)

Joué durant  6 ans 5 mois

Première preview: Inconnu
Première: ven. 06 octobre 1995
Dernière: dim. 03 mars 2002

Compositeur: Buddy Holly •  
Parolier: Alan Janes • Rob Bettinson •  
Libettiste: Alan Janes • Rob Bettinson •  
Metteur en scène: Rob Bettinson •  
Chorégraphe: Aucun •  
Avec:  


Commentaire: With its initial 12 year run in the West End, this became one of the longest-running shows (and would later be revived in 2007 for a further 18 months) whilst in-between times it toured non-stop through the UK.
Its Broadway production in 1990 ran for just 225 performances.
It was originally conceived by Laurie Mansfield and Paul Elliot with support from Paul McCartney (who owned the copyrights to Buddy Holly's music) Paul McCartney objected to many inaccuracies in 1978 film version of Buddy Holly’s life and was happy to support a show which told a truer story.  (plus) 


Presse:

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Musical
West End Transfer

11) A slice of Saturday night (West End Transfer)

Joué durant  2 mois 2 semaines

Première preview: lun. 06 septembre 1993
Première: jeu. 09 septembre 1993
Dernière: sam. 27 novembre 1993

Compositeur: Heather Brothers •  
Parolier: Heather Brothers •  
Libettiste:  
Metteur en scène: Lee Heather •  
Chorégraphe:  
Avec: Dennis Waterman (Eric Rubberlegs Devine), Danny McCall, Sonia, Nikki Brooks, Judith Ellis, Joanne Englesman, Peter Heppelthwaite, Sean Oliver 


Commentaire: Following its original London run the production had toured extensively with Alvin Stardust in the leading role. He was replaced with Dennis Waterman when the show returned to the West End.  (plus) 


Presse:

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Musical
Original

10) Leonardo (Original)   

Joué durant  

Nb de représentations: 44 représentations
Première preview: Inconnu
Première: jeu. 03 juin 1993
Dernière: Inconnu

Compositeur: Duke Minks • Greg Moeller • Russel Dunlop • Tommy Moeller •  
Parolier: Duke Minks • Greg Moeller • Russel Dunlop • Tommy Moeller •  
Libettiste: John Kane •  
Metteur en scène: Charles Miller •  
Chorégraphe: Terry John Bates •  
Avec: Paul Collis (Leonardo), Jane Arden (Lisa), James Barron (Francesco), Hal Fowler (Melzi), Lisa Hollander, David Alder, Adrian Beaumont. 


Commentaire: This has to be one of the most bizarre shows in the history of musical theatre. It was the brainchild of Duke Minks, former road-manager for the 60s pop group Unit 4 Plus 2, and now an advisor to the Republic of Nauro, a Pacific Island (pop. 8,000) whose major export was guano (bird-droppings rich in phosphate). He persuaded the Nauro Government to finance this £2 million musical from its guano profits as a way of raising its international profile. The President of Nauro hosted a lavish first-night party for many international and show business guests. Because “Leonardo” followed the disastrous “Which Witch”, it could not be described as the “worst musical ever to hit the West End”, but for most critics it came close. The general reaction was summed up as: “Leonardo is marginally more entertaining than a pile of guano - but not a lot”.  (plus) 


Presse:

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Musical
Original

9) Good Rockin' Tonite (Original)

Joué durant  1 mois 2 semaines

Première preview: Inconnu
Première: mar. 28 janvier 1992
Dernière: sam. 14 mars 1992

Compositeur: *** Divers •  
Parolier: *** Divers •  
Libettiste: Jack Good •  
Metteur en scène: Jack Good • Ian Kellgren •  
Chorégraphe: Henry Metcalf •  
Avec: Philip Baird (Jack Good), Anna Juliana Claire (Mrs Good), Anne Smith (Connie Francis), David Howarth (Tommy Steele/Larry Parnes), Michael Dimitri (Gene Vincent), Tim Whitnall (Cliff Richard), Gavin Stanley (Billy Fury), Marcus D’Cruze (Ritchie Valens), James Compton (BBC Head) 


Commentaire:   


Presse:

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Musical
Original

8) Someone like you (Original)

Joué durant  3 mois 1 semaine

Nb de représentations: 44 représentations
Première preview: Inconnu
Première: jeu. 22 mars 1990
Dernière: jeu. 28 juin 1990

Compositeur: Petula Clark •  
Parolier: Dee Shipman •  
Libettiste: Fay Weldon • Robin Midgley •  
Metteur en scène: Robin Midgley •  
Chorégraphe: Denis L. Sayers •  
Avec: Petula Clark (Abigail), Dave Willetts (The Major), Joanne Campbell (Serena), Jane Arden (Susannah), Clive Carter (Kane), Michael Seraphim (Moonshine), Lewis Rae (Andy), Euan Milne, Michael G. Jones, Richard D. Sharp, Calum Macpherson, Alan Gill 


Commentaire: The singing and performances were praised but the show itself received a very mixed reaction. It closed very suddenly after just one month when it was announced that the producer, Harold Fielding, was going into liquidation after nearly 50 years in the business.  (plus) 


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Musical
Revival

7) Can-Can (Revival)

Joué durant  2 mois 3 semaines

Nb de représentations: 102 représentations
Première preview: Inconnu
Première: mer. 26 octobre 1988
Dernière: sam. 21 janvier 1989

Compositeur: Cole Porter •  
Parolier: Cole Porter •  
Libettiste: Abe Burrows •  
Metteur en scène: Abe Burrows • David Taylor •  
Chorégraphe: Kenn Oldfield •  
Avec: Donna McKechnie (La Mome Pistache), Milo O’Shea (Paul) , Bernard Alane (Aristide Forestiere), Jean-Michel Dadory (Boris), Janie Dee (Claudine) 


Commentaire: This was a newly scripted version by Julian More, incorporating additional songs written for other Cole Porter shows. However, in the words of Sheridan Morley “instead of an appallingly inadequate book by Abe Burrows we merely get a very disappointing one by Julian More”.  (plus) 


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Musical
Revival

6) Cabaret (Revival)

Joué durant  9 mois 2 semaines

Nb de représentations: 329 représentations
Première preview: Inconnu
Première: jeu. 17 juillet 1986
Dernière: ven. 01 mai 1987

Compositeur: John Kander •  
Parolier: Fred Ebb •  
Libettiste: Joe Matseroff •  
Metteur en scène: Gillian Lynne •  
Chorégraphe: Gillian Lynne •  
Avec: Kelly Hunter (Sally Bowles), Wayne Sleep (MC), Peter Land (Clifford),
Vivienne Martin (Fraulein Schneider), Oscar Quitak {Herr Schultz), Rodney Cottam (Ernst Ludwig) 


Commentaire: The show initially received luke-warm reviews, but it attracted reasonable audiences. There were rumours of a number of backstage squabbles, and at the end of February Toyah Wilcox was brought in to replace Kelly Hunter. The show suddenly closed on Friday May 1st 1987 after a strike following the sacking of five out of the 13 orchestra members. The show had been blighted with a number of difficulties, including a serious breakdown in the orchestra’s relationship with Wayne Sleep, who accused them of interfering with his performance and alleged they were guilty of drunken and bawdy behaviour. The final performance (Friday May 1st 1987) was played with no musicians, and subsequent negotiations failed to resolve the problem. After the show ended a whole series on unpaid bills came to light, and 3 years later the main backer, William Hancock, was declared bankrupt with total debts of over £5 million.  (plus) 


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Musical
West End Transfer

5) Judy (West End Transfer)

Joué durant  

Nb de représentations: 46 représentations
Première preview: Inconnu
Première: mer. 26 mars 1986
Dernière: Inconnu

Compositeur: *** Divers •  
Parolier: *** Divers •  
Libettiste: *** Divers •  
Metteur en scène: John David •  
Chorégraphe:  
Avec: Leslie Mackie (Judy Garland), Lewis Cowen (Louis B. Meyer/Sid Luft), Philip Childs (Vincent Minelli, etc.), Ray Davison (Mickey Rooney, etc.), Paul Downing (Mark Herron, etc), Buster Skeggs (Louella Parsons), Alison Skilbeck (Hedda Hopper), Adeen Fogle, James Gavin, Tim Hardy, David Bauckham, Carolyn Moody 


Commentaire: The author, Terry Wale, was married to Leslie Mackie. Unfortunately the show did not run very long once it had transferred to the Strand and closed within seven weeks. However, Lesley Mackie won the 1986 Olivier Award for Best Actress in a Musical for this show.
Transfered from Greenwich Theatre.  (plus) 


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Musical
Original London

4) A funny thing happened on the way to the Forum (Original London)

Joué durant  1 an 10 mois

Nb de représentations: 762 représentations
Première preview: Inconnu
Première: jeu. 03 octobre 1963
Dernière: sam. 31 juillet 1965

Compositeur: Stephen Sondheim •  
Parolier: Stephen Sondheim •  
Libettiste: Burt Shevelove • Larry Gelbart •  
Metteur en scène: George Abbott •  
Chorégraphe: Jack Cole •  
Avec: Frankie Howerd (Prologus), Ben Aris (Protean), George Giles(Protean), Malcolm Macdonald (Protean), "Monsewer" Eddie Gray (Senex), Linda Gray (Domina), John Rye (Hero), Kenneth Connor (Hysterium), Frankie Howerd (Pseudolus), Jon Pertwee (Marcus Lycus), Norma Dunbar (Tintinnabula), Christine Child (Panacea), Marion Horton (Gemina), Vyvyan Dunbar (Gemina), Faye Craig (Vibrata), Sula Freeman (Gymnasia), Isla Blair (Philia), Robertson Hare (Erronius), Leon Greene (Miles Gloriosus) 


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Théâtre
West End Transfer

3) Rhinoceros (West End Transfer)

Joué durant  1 mois 3 semaines

Nb de représentations: 105 représentations
Première preview: Inconnu
Première: mer. 08 juin 1960
Dernière: sam. 30 juillet 1960

Compositeur: *** Divers •  
Parolier: *** Divers •  
Libettiste: *** Divers •  
Metteur en scène: Orson Welles •  
Chorégraphe:  
Avec: Monica Evans (Bessie ), Laurence Olivier (Berenger), Duncan Macrae (John), Henry Woolf (A Grocer), Margery Caldicott (Grocer's Wife), Hazel Hughes (Lady with a Cat), Geoffrey Lumsden (A Logician), Michael Bates (An Old Gentleman), Will Stampe (A Publican), Maggie Smith (Daisy), Michael Gough (Duddard), Miles Malleson (Mr. Butterfly), Peter Sallis (Bottard), Gladys Henson (Mrs. Beef), Philip Anthony (A Fireman) 


Commentaire: Après The Entertainer, il s'agit de la seconde participation de Laurence Olivier dans la Royal Court Company avec cette pièce absurde de Ionesco. Le point le plus remarquable de cette production a été l'interminable querelle entre la star et son metteur en scène, Orson Welles, qui, selon le biographe Francis Beckett, a subi le "traitement révoltant" qu'Olivier avait déjà infligé à Gielgud à Stratford, cinq ans plus tôt. Olivier a une fois de plus ignoré le metteur en scène et a sapé son autorité.
En plus, la seule raison qui avait poussé Orson Welles dans ce projet était son opportunité de travailler avec Laurence Olivier, car il n'aimait pas la pièce d'Ionesco. C'est réussi! Orson Welles, plus jamais ne fera de mise en scène au théâtre.  (plus) 


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Revue
Original

2) Blackbirds of 1927 (Original)

Joué durant  3 semaines

Nb de représentations: 32 représentations
Première preview: lun. 30 mai 1927
Première: lun. 30 mai 1927
Dernière: sam. 25 juin 1927

Compositeur:  
Parolier:  
Libettiste:  
Metteur en scène:  
Chorégraphe:  
Avec: Johnny Dunn, Will Vodery, Pike Davis (cornetist), Johnny Nit, Lloyd Mitchell (dancer), John Payne, C. C. Rosemond, U. S. Thompson, Chick Horsey, Charles Woody, Hamtree Harrington, Fred Sydney, Clinton Taylor. Cora Green, Florence Mills, Tillie Meadows, Mae Fortune, Alma Smith, Ruth Johnston, Flossie Pearce, Mabel Mercer, Zelma Davis, Edith Johnson, Olive Mendez, Tiny Ray. 


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Musical
Revival

1) For Goodness Sake (Revival)

Joué durant  5 mois 3 semaines

Nb de représentations: 194 représentations
Première preview: sam. 29 mars 1924
Première: mer. 19 mars 1924
Dernière: sam. 13 septembre 1924

Compositeur: George Gershwin • Paul Lannin • William Daly •  
Parolier: Arthur J. Jackson •  
Libettiste: Fred Jackson •  
Metteur en scène:  
Chorégraphe:  
Avec: Jack Melford; Fred Astaire; Cecil Musk; George de Warfaz; Brian Buchel; Denis Cowles; Stephen T. Ewart; Maurice Braddell, Claude Horton, George Hamilton, L. W. Thompson, Jack Halward, R. Dolman.
Helen Gilliland; Mimi Crawford; Adele Astaire; Leila Langley, Adrienne Alexander, Gladys Ross, Susan Gray, Marjorie Mars, Dorothy Elston, Norah Verdune, Patricia Siems, Constance Shotter, Gladys Randall, Vera Alexander, Mildred Nicoll, Ivy Leah. 


Commentaire: Le revival faisait suite à une tournée réussie entreprise après la fermeture de la production originale. Le chorégraphe Gus Sohlke est mort pendant la diffusion de cette pièce en tentant de passer un appel téléphonique.  (plus) 


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