Londres
Playhouse Theatre
Londres - Angleterre
Construction: 1882
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Topologie du théâtre
Nombre de salles actives: 1
Salle 1: (786) 1882 - Actif
Accès
En métro: Charing Cross / Embankment
En bus:
Adresse: Northumberland Avenue, London, WC2N 5DE
Evolution
Bâtiment: 1882. The Royal Avenue Theatre opens, designed by F. H. Fowler for Sefton Parry / 1905. Cyril Maude initiates comprehensive rebuilding programme, but partial collapse of Charing Cross Station on 5 December temporarily halts work / 1906. Architects Blow and Billerey commissioned to remodel Interior of building / 1907. Theatre reopens on 28 January as The Playhouse / Statutorily Listed Historic Building: Grade II.
Nom:
Propriétaire(s)
Ambassador Theatre Group
Remarquable
Interior of unusually high quality
786
1882 - Actif
On the Thames Embankment, close to Embankment Underground Station, the Playhouse Theatre is removed from London’s theatrical epicentre. It occupies a site at the foot of Craven Street, a short distance from No. 36 where, between 1757 and 1762, the American scientist and statesman Benjamin Franklin lived. The theatre appears somehow trapped between the sheer face of the railway bridge as it enters Charing Cross Station and the overscaled buildings of Whitehall Court. Opposite the theatre is an attractive and quite rare surviving example of a green-painted and timber-boarded cabmen’s shelter. Close by is London’s single public memorial to W. S. Gilbert: a modest bronze plaque by Sir George Frampton - sculptor of Peter Pan in Kensington Gardens and Nurse Edith Cavell outside the National Portrait Gallery - inconspicuously fixed to the Embankment wall.
The first playhouse on this site, the Royal Avenue Theatre, was designed by F. H. Fowler and built in 1882 as a daring enterprise by the speculator Sefton Parry, gambling that when the South Eastern Railway Company needed to widen the station access, it would pay an extortionate sum of money for the building. Regrettably for Parry, this never happened. Originally of two storeys and faced in Portland stone, the restrained French Renaissance façade of eleven bays curves gracefully to abut the railway bridge. At the time of its construction the scale of the building, crowned by an open balustrade and sculpted figures, sat comfortably with the adjacent mid-18th-century brick terraced houses; but much has changed since then. For 10 years prior to 1987 the future of the theatre had looked bleak, until Robin Gonshaw, a loyal friend and supporter of the Playhouse, bravely undertook a comprehensive restoration programme, financed in part by the creation of offices, known as Aria House, in a third attic storey above the building. Although the expansion was carefully planned in detail by architect Graham Berry, it has altered the relationship of scale between the buildings, and as if to exacerbate the situation the group is now dominated dramatically by Terry Farrell's much praised rebuilding of Charing Cross Station (1987-90).
In 1905 Cyril Maude became theatre manager, and immediately set about remodelling the building, again commissioning Fowler. The work progressed well until 5 December, when disaster struck: part of the railway station collapsed on to the theatre, killing six workmen and injuring many more. Handsome compensation was paid by the railway company and rebuilding began again, within the existing outer envelope, this time to the more fashionable designs of Blow and Blllerey; most of the design work was executed by the Beaux Arts architect Ferdinand Blllerey, in a Louis XV style. Perhaps hoping to change his luck, Maude renamed the theatre the Playhouse.
The quietly elegant cream and gold foyer and plain main staircase herald an auditorium representing a sumptuous exercise in splendour. The basket-arch proscenium, crowned by Thalia, one of the three daughters of Zeus and ‘a delight to the gods and men', is flanked by boxes supported on caryatids. Serpentine balconies have turned baluster fronts, the upper level sitting uncomfortably against painted wall-panel decoration. Under the dress circle is a bold triglyph and bucranium frieze.
Under the stage the timber machinery, which almost certainly dates from 1882, is well preserved, and second in quality only to that sutviving in Her Majesty’s Theatre. Splendidly rerigged and repaired by David Wllmore of Theatresearch in 1987, it comprises a grave-trap, one corner trap, three bridges and a thunder run. Iron crab winches remain in situ on the mezzanine, as do a number of trip levers. Above the stage, to accommodate Aria House, the original grid has been lowered, losing, in the process, four fine timber drums used to fly heavy scenery or props; the compromising of this superb late 19th-century stage must be regarded as extremely regrettable.
In 1950 the British Broadcasting Corporation took over the theatre, and it was from here that comedy classics such as The Goon Show and Hancock’s Half Hour were recorded. Stage successes have Included The Rose Tattoo starring Julie Walters and Tartuffe with Felicity Kendal (both 1991-2).
1882. The Royal Avenue Theatre opens, designed by F. H. Fowler for Sefton Parry / 1905. Cyril Maude initiates comprehensive rebuilding programme, but partial collapse of Charing Cross Station on 5 December temporarily halts work / 1906. Architects Blow and Billerey commissioned to remodel Interior of building / 1907. Theatre reopens on 28 January as The Playhouse / Statutorily Listed Historic Building: Grade II.
Infos complémentaires:
The Stalls section is undivided and hexagonal shaped, with the longest rows towards the middle of the auditorium. Seats are well raked giving clear sight lines even towards the rear of the section. Due to the size of the stage, seats towards the ends of each row in the rear section have the most restricted view and can feel outside of the action. The rows do not curve around the stage, meaning the view is straight on from each seat, even towards the aisles.
The stage is set fairly high which can cause problems in the front two rows, so those with children may wish to sit further back to avoid constantly looking up. The Dress Circle overhang occurs far back in the Stalls and does not affect any seats in the section, giving clear views throughout.
The Dress Circle is divided into three sections by two aisles on either side of the large central section. The balcony curves on either side around the stairwells, with the side sections sitting above, divided by balustrades. The best seats are the front four rows, although row A follows the curve of the balcony and may involve leaning over the balustrade.
The railings become an issue for those sat on either side of the section and do restrict audience members seeing the front of the stage and the apron extension. Smaller patrons and children should avoid these seats, although they can offer good value for money when discounted. Legroom in the Dress Circle is particularly good, with lots of aisle space for those wishing for additional room.
The Upper Circle is a similar layout to the Dress Circle with three sections divided by two aisles running the length of the auditorium. Most seats enjoy a technically clear view, although the rake and distance from the stage can be a problem for some. The Upper Circle feels set back from the action and is not suitable for those who have an issue with heights.
Safety bars and rails affect seats closest to the aisles, but have a varying affect depending on height of audience. These seats are usually discounted, but some may prefer sitting on the side blocks for the same price. Legroom is not as good as elsewhere in the theatre, especially for those sat nearest to rails and posts.
Interior of unusually high quality
Musical
Revival
1) Cabaret (Revival)
Joué durant actuellement
Première preview: lun. 15 novembre 2021
Première: lun. 15 novembre 2021
Dernière: Open end
Compositeur: John Kander •
Parolier: Fred Ebb •
Libettiste: Joe Matseroff •
Metteur en scène: Rebecca Frecknell •
Chorégraphe: Julia Cheng •
Avec: Eddie Redmayne (Emcee), Jessie Buckley (Sally Bowles), Omari Douglas (Clifford Bradshaw), Liza Sadovy (Fraulein Schneider), Elliot Levey (Herr Schultz), Stewart Clarke (Ernst Ludwig), Anna-Jane Casey (Fraulein Kost/Fritzi), Josh Andrews, Emily Benjamin, Sally Frith, Matthew Gent, Emma Louise Jones, Ela Lisondra, Theo Maddix, Chris O'Mara, Daniel Perry, Andre Refig, Christopher Tendai, Bethany Terry, Lillie-Pearl Wildman, Sophie Maria Wojna, Gabriela Bendetti (Prologue Company), Rachel Benson (Prologue Company), Laura Braid (Prologue Company), Julian Capole (Prologue Company), Hollie Cassar (Prologue Company), Celine Fortenbacher-Poplawska (Prologue Company), Samantha Ho (Prologue Company), Andrew Linnie (Prologue Company), Sally Swanson (Prologue Company)
Commentaire: The Playhouse Theatre is transformed into the Kit Kat Club.
This production offers an exciting chance to discover, or revisit, Kander and Ebb’s still hugely resonant musical. Based on Christopher Isherwood’s short stories and John Van Druten’s play, John Kander, Fred Ebb and Joe Masteroff’s show is set in early 1930s Berlin, where American writer Cliff Bradshaw meets English cabaret singer Sally Bowles, a performer at the Kit Kat Club. But the rise of Nazism threatens this hedonistic Weimar Republic haven.
This new Cabaret West End production promises to be a very special audience experience. The Playhouse is reconfigured to seat viewers in the round, creating more intimacy and immersing us in the action — and limiting capacity to just 550. (plus)
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Théâtre
Revival
32) A Doll s House (Revival)
Joué durant 2 mois 2 semaines
Première preview: 10 June 2020
Première: 18 June 2020
Dernière: 05 September 2020
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Divers •
Metteur en scène: Jamie Lloyd •
Chorégraphe:
Avec:
Commentaire: The second production in Jamie Lloyd's season at the Playhouse Theatre, Jessica Chastain will make her West End debut in a new version of Henrik Ibsen's A Doll's House, adapted by Frank McGuinness. (plus)
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Musical
Original
31) 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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Théâtre
Revival
30) Cyrano de Bergerac (Revival)
Joué durant 2 mois 3 semaines
Première preview: 27 November 2019
Première: 06 December 2019
Dernière: 29 February 2020
Compositeur:
Parolier:
Libettiste: Edmond Rostand •
Metteur en scène: Jamie Lloyd •
Chorégraphe:
Avec: James McAvoy (Cyrano de Bergerac), Michele Austin (Ragueneau), Adam Best (Le Bret), Sam Black (Armand/Priest), Nari Blair-Mangat (Valvert), Philip Cairns (Referee), Tom Edden (De Guiche), Eben Figueiredo (Christian), Chris Fung (Usher), Adrian Der Gregorian (Montfleury), Carla Harrison-Hodge (Denise/Medic), Seun Shote (Theatre Owner), Kiruna Stamell (Marie-Louise), Nima Taleghani (Ligniere), Anita-Joy Uwajeh (Roxane), Vaneeka Dadhria, Mika Johnson, Brinsley Terence.
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Musical
West End Transfer
29) Fiddler on the Roof (West End Transfer)
Joué durant 7 mois 1 semaine
Première preview: 21 March 2019
Première: 27 March 2019
Dernière: 02 November 2019
Compositeur: Jerry Bock •
Parolier: Sheldon Harnick •
Libettiste: Joseph Stein •
Metteur en scène: Trevor Nunn •
Chorégraphe: Jerome Robbins • Math Cole •
Avec: Andy Nyman (Tevye), Maria Friedman (Golde), Anita Dobson (Yente), Nicola Brown (Chava), Harriet Bunton (Hodel), Dermot Canavan (Lazar Wolf), Stewart Clarke (Perchik), Joshua Gannon (Motel), Matthew Hawksley (Fyedka), Molly Osbourne (Tzeitel), Miles Barrow, Philip Bertioli, Fenton Gray, James Hameed, Adam Linstead, Adam Margilewski, Robert Maskell, Robyn McIntyre, Gaynor Miles, Ellie Mullane, Tania Newton, George Olney, Craig Pinder, Ed Wade, Taylor Walker, Sofia Bennett, Lottie Casserley, Elena Cervesi, Lia Cohen, Talia Etherington, Shoshana Ezequiel, Isabella Foat, Valentina Theodoulou.
Commentaire: Fiddler on the Roof has transferred to the West End's Playhouse Theatre following its revival at the Menier Chocolate Factory, with director Trevor Nunn giving Joseph Stein, Jerry Bock and Sheldon Harnick's classic musical a new lease of life. The production opened in the West End to the Playhouse Theatre on 27th March 2019, after tickets for Fiddler on the Roof at the Menier Chocolate Factory in London sold out. (plus)
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Musical
West End Transfer
28) Caroline or change (West End Transfer)
Joué durant 3 mois 1 semaine
Première preview: 20 November 2018
Première: 20 November 2018
Dernière: 02 March 2019
Compositeur: Jeanine Tesori •
Parolier: Tonu Kushner •
Libettiste: Tonu Kushner •
Metteur en scène: Michael Longhurst •
Chorégraphe: Ann Yee •
Avec: Sharon D Clarke (Caroline Thibodeaux), Naana Agyei-Ampadu, Keisha Amponsa Banson, Alastair Brookshaw, Me'sha Bryan, Angela Caesar, Dujonna Gift-Simms, Sue Kelvin, Teddy Kempner, Ako Mitchell, Abiona Omonua, Vincent Pirillo, Tanisha Spring, Lauren Ward, Cassiopeia Berkeley-Agyepong, Zalika Henry, Laura Medforth, Timothy Quinlan, Teddy Wills, Isaac Forward (Noah - some dates), Aaron Gelkoff (Noah - some dates), Jack Meredith (Noah - some dates), Mark Mwangi (Jackie - some dates), Kenya Sandy (Jackie - some dates), Jereiah Waysome (Jackie - some dates), Josiah Choto (Joe - some dates), David Dube (Joe - some dates), Raphael Higgins-Hume (Joe - some dates).
Commentaire: Following sold-out runs in Chichester and at the Hampstead Theatre, the brilliant Sharon D Clarke reprises her role in Tony Kushner’s ‘modern masterpiece’, Caroline, or Change. (plus)
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Théâtre
West End Transfer
27) Jungle (The) (West End Transfer)
Joué durant 4 mois
Première preview: 16 June 2018
Première: 05 July 2018
Dernière: 03 November 2018
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Divers •
Metteur en scène: Stephen Daldry • Justin Martin •
Chorégraphe:
Avec: Raphael Acloque, Ammar Haj Ahmad, Aliya Ali, Mohammad Amiri, Alyssa Denise D'Sousa, Elham Ehsas, Trevor Fox, Michael Gould, Ansu Kabia, Alex Lawther, Jo McInnes, John Pfumojena, Rachel Redford, Rachid Sabitri, Ben Turner, Nahel Tzegai.
Commentaire: British playwrights Joe Murphy and Joe Robertson know of what they write: they set up a temporary theatre named Good Chance in The Jungle in 2015. This story has been staged in a co-production between their company (Good Chance), the Young Vic and the National Theatre: it feels of national significance. (plus)
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Théâtre
Original London
26) Best Man (The) (Original London)
Joué durant 2 mois 1 semaine
Première preview: 24 February 2018
Première: 05 March 2018
Dernière: 12 May 2018
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Divers •
Metteur en scène: Simon Evans •
Chorégraphe:
Avec: Martin Shaw (William Russell), Jeff Fahey (Joseph Cantwell), Jack Shepherd, Maureen Lipman, Glynis Barber, Honeysuckle Weeks.
Commentaire:
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Théâtre
Revival
25) Glengarry Glen Ross (Revival)
Joué durant 2 mois 3 semaines
Première preview: 26 October 2017
Première: 09 November 2017
Dernière: 03 February 2018
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Divers •
Metteur en scène: Sam Yates •
Chorégraphe:
Avec: Christian Slater, Kris Marshall, Robert Glenister, Stanley Townsend and Don Warrington
Commentaire:
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Spectacle
Original
24) Derren Brown: Underground (Original)
Joué durant 1 mois
Première preview: 11 September 2017
Première: 11 September 2017
Dernière: 14 October 2017
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Divers •
Metteur en scène: Derren Brown •
Chorégraphe:
Avec: Derren Brown
Commentaire:
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Théâtre
Revival
23) My Family: Not The Sitcom (Revival)
Joué durant 2 mois 1 semaine
Première preview: 28 March 2017
Première: 28 March 2017
Dernière: 03 June 2017
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Divers •
Metteur en scène:
Chorégraphe:
Avec:
Commentaire: Back by popular demand following a critically-acclaimed West End run and sold out residency at the Menier Chocolate Factory, My Family: Not the Sitcom is a massively disrespectful celebration of the lives of David Baddiel’s late mother, Sarah, and dementia-ridden father, Colin. (plus)
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Théâtre
Revival
22) An Inspector calls (Revival)
Joué durant 2 mois 3 semaines
Première preview: 04 November 2016
Première: 10 November 2016
Dernière: 04 February 2017
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Divers •
Metteur en scène: Stephen Daldry •
Chorégraphe:
Avec: Clive Francis will play Mr Birling alongside, Barbara Marten (Mrs Birling), Liam Brennan (Inspector Goole), Matthew Douglas (Gerald Croft), Carmela Corbett (Sheila Birling), Hamish Riddle (Eric Birling), Diana Payne-Myers (Edna), Geoffrey Towers, Benedict Salter and Beth Tuckey
Commentaire: Stephen Daldry’s multi award-winning production of JB Priestley’s classic thriller returns to the West End for a strictly limited season. Hailed as the theatrical event of its generation, winning more awards than any other production in history, this magnificent NATIONAL THEATRE presentation has thrilled more than 4 million people worldwide. Now Daldry (Oscar-nominated Director of The Reader, The Hours and Billy Elliot) returns to re-direct his masterpiece at London’s Playhouse Theatre. (plus)
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Théâtre
Reprise
21) 1984 (Reprise)
Joué durant 4 mois
Première preview: 28 June 2016
Première: 28 June 2016
Dernière: 29 October 2016
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Divers •
Metteur en scène: Duncan Macmillan • Robert Icke •
Chorégraphe:
Avec: Rosie Ede, Andrew Gower, Joshua Higgott, Richard Katz, Anthony O'Donnell, Daniel Rabin, Catrin Stewart and Angus Wright, Eve Benioff Salama, Cleopatra Dickens, Amber Fernee and India Fowler who will alternate the role of Child. Ingrid Schiller, Gerard Gilroy and Thom Petty (understudies)
Commentaire: Deuxième reprise dans le même théâtre. S'est déjà joué:
1) Du 28 avril 2014 au 23 août 2014
2) Du 12 juin 2015 au 5 septembre 2015 (plus)
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Théâtre
Original
20) End of longing (The) (Original)
Joué durant 3 mois
Première preview: 02 February 2016
Première: 11 February 2016
Dernière: 14 May 2016
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Divers •
Metteur en scène: Lindsay Posner •
Chorégraphe:
Avec: Matthew Perry, Christina Cole, Jennifer Mudge, Lloyd Owen
Commentaire:
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Spectacle
Revival
19) Lord of the Dances-Dangerous Games (Revival)
Joué durant 3 mois 2 semaines
Première preview: 10 October 2015
Première: 10 October 2015
Dernière: 24 January 2016
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Divers •
Metteur en scène: Michael Flatley •
Chorégraphe: Michael Flatley •
Avec: James Keegan, Morgan Comer
Commentaire: Après le Dominion et le Paladium, le spectacle est présenté dans une "petite salle". (plus)
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Musical
Revival
18) Rocky Horror Show (The) (Revival)
Joué durant 2 semaines
Première preview: 11 September 2015
Première: 11 September 2015
Dernière: 26 September 2015
Compositeur: Richard O'Brien •
Parolier: Richard O'Brien •
Libettiste: Richard O'Brien •
Metteur en scène: Christopher Luscombe •
Chorégraphe:
Avec: Richard O'Brien (Narrator), David Bedella (Frank N Furter), Ben Forster (Brad), Haley Flaherty (Janet), Kristian Lavercome (Riff Raff)
Commentaire: The Rocky Horror Show Live is a 2015 British musical performance event simulcast live to cinemas across the United Kingdom and Europe from London's Playhouse Theatre on 17 September 2015. The Gala performance, in aid of Amnesty International, was the highlight of a two-week run of The Rocky Horror Show at the Playhouse from 11–26 September, all starring the show's creator Richard O'Brien.
The Gala performance was broadcast to over 600 cinemas across the UK and Europe; taking more than £600,000 at the UK box office alone. It also beat Legend and Maze Runner: The Scorch Trials to take the top spot at the UK box office.
An edited version was later broadcast on BBC America in the United States, on Sky Arts in the United Kingdom, SBS in Australia, Canal+ Extra in Spain, and on YLE Teema in Finland. (plus)
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Théâtre
Revival
17) 1984 (Revival)
Joué durant 2 mois 2 semaines
Première preview: 12 June 2015
Première: 18 June 2015
Dernière: 05 September 2015
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Divers •
Metteur en scène: Duncan Macmillan • Robert Icke •
Chorégraphe:
Avec: Matthew Spencer (Winston Smith), Hara Yannas (Juia), Simon Coates, Tim Dutton, Stephen Fewell, Christopher Patrick Nolan, Ben Porter, Gavin Spokes and Mandi Symonds
Commentaire: Reprise du spectacle présenté dans le même théâtre un an plus tôt (plus)
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Musical
Original London
16) Women on the Verge of a Nervous Breakdown (Original London)
Joué durant 4 mois 1 semaine
Première preview: 18 December 2014
Première: 12 January 2015
Dernière: 23 May 2015
Compositeur: David Yazbek •
Parolier: David Yazbek •
Libettiste: Jeffrey Lane •
Metteur en scène: Bartlett Sher •
Chorégraphe:
Avec: Tamsin Greig (Pepa), Hadyn Gwynne (Lucia), Seline Hizli (Marisa), Jerome Pradon (Ivan),Anna Skellern (Candela), Ricardo Afonso (Taxi Driver), Haydn Oakley (Carlos), Willemijn Verkaik (Paulina), Rebecca McKinnis (Christina), Sarah Moyle (Pepa’s Concierge), Marianne Benedict, Holly James, Michael Matus, Alastair Natkiel, Nuno Queimado and Dale Rapley.
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Théâtre
Revival
15) Speed-the-Plow (Revival)
Joué durant 1 mois 4 semaines
Première preview: 24 September 2014
Première: 02 October 2014
Dernière: 29 November 2014
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Divers •
Metteur en scène: Lindsay Posner •
Chorégraphe:
Avec: Lindsay Lohan (Karen), Richard Schiff (Bobby Gould) and Nigel Lindsay (Charlie Fox).
Commentaire:
Presse: "This workaday but watchable revival doesn't soar to the heights of its predecessors, but you can't blame the star actress for that." Dominic Cavendish for The Telegraph
"Richard Schiff and Nigel Lindsay are in fine, darkly frisky form as the pair of producers whose longstanding friendship she threatens to sunder...A good but by no means a great night out whose value does not depend on the swirl of publicity occasioned by the female lead." Paul Taylor for The Independent
"Whatever her colourful past, Lohan brings on stage a quality of breathless naivety that is far and away the most interesting thing in Lindsay Posner’s otherwise tame, under-powered revival." Michael Billington for The Guardian
"Far from being the train wreck that’s been gleefully predicted, Lindsay Lohan’s theatre debut is competent — without being exciting...the sceptics who’ve been dying to see Lohan fall on her face will be disappointed." Henry Hitchings for The Evening Standard
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Théâtre
Original
14) 1984 (Original)
Joué durant 3 mois 2 semaines
Première preview: 28 April 2014
Première: 08 May 2014
Dernière: 23 August 2014
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Divers •
Metteur en scène: Duncan Macmillan • Robert Icke •
Chorégraphe:
Avec:
Commentaire: Sera repris dans le même théâtre un an plus tard. (plus)
Presse:
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Musical
Revival
13) Spamalot (Revival)
Joué durant 1 an 4 mois 3 semaines
Première preview: 14 November 2012
Première: 20 November 2012
Dernière: 12 April 2014
Compositeur: Eric Idle • John Du Prez •
Parolier: Eric Idle • John Du Prez •
Libettiste: Eric Idle •
Metteur en scène: Christopher Luscombe •
Chorégraphe:
Avec:
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Théâtre
Revival
12) Mystery of Charles Dickens (The) (Revival)
Joué durant 1 mois 3 semaines
Première preview: 13 September 2012
Première: 17 September 2012
Dernière: 10 November 2012
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Divers •
Metteur en scène: Richard Twyman •
Chorégraphe:
Avec: Simon Callow
Commentaire:
Presse: "Although Callow’s enthusiasm and dynamism are impossible to fault, I was left wanting more of the mystery the title promises." Henry Hitchings for THe Evening Standard
"it is of course possible to have too much of a good thing. And when it comes to the decision to include so many scenes from Dickens’s work, the show would again have benefited from a more ruthless editor." Nicholas Hamilton for The Stage
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Musical
Reprise
11) Dreamboats and Petticoats (Reprise)
Joué durant 2 ans 6 mois 4 semaines
Première preview: 07 January 2010
Première: 07 January 2010
Dernière: 04 August 2012
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: Laurence Marks • Maurice Gran •
Metteur en scène: Bob Tomson •
Chorégraphe: Carole Todd •
Avec:
Commentaire: This show was inspired by the unexpectedly huge sales of a CD issued by Universal Music, aimed at the nostalgia market. The first “Dreamboats and Petticoats” CD sold over two million copies and led to the creation of a stage show which began a five month UK tour in Bromley in February 2009. The success of the tour led to its West End debut, as a seven-week filler. After a three month gap, the show was re-created at the Playhouse Theatre in January 2010 and is still running at the start of 2012. At the same time a second UK tour played throughout 2010, much of 2011 and is planned to run through 2012. (plus)
Presse: LYN GARDNER for THE GUARDIAN says, " Inoffensive and as squeaky clean as a toothpaste advert, this musical trip down memory lane was inspired by a compilation album of early 1960s hits...Dreamboats and Petticoats is not bad, although it tails off lamely in the second half, but it is not very good either."
FIONA MOUNTFORD for THE EVENING STANDARD says, "peppy production ."
CHARLES SPENCER for THE DAILY TELEGRAPH says, "I confess I loved every moment of this show, hackneyed though the script by TV sitcom writers Laurence Marks and Maurice Gran often is. Bob Tomson’s lively production has great heart, following a group of teenagers at a youth club as they bicker, feud, fall in and out of love and try – and fail – to become pop stars."
VALERIE POTTER for THE LONDON LITE says, "Boasts toe-tapping tunes aplenty, yet ultimately buckles under their weight."
SAM MARLOWE for THE TIMES says, "Although Bob Tomson’s direction is mercifully brisk and the company is well-drilled, there’s a laziness to the concept and a cheapness to its execution that no amount of energetic gyration and forced, cheesy cheeriness can disguise."
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Musical
Revival
10) Cage aux Folles (La) (Revival)
Joué durant 1 an 2 mois
Nb de preview: 8 previews
Nb de représentations: 517 représentations
Première preview: 20 October 2008
Première: 30 October 2008
Dernière: 02 January 2010
Compositeur: Jerry Herman •
Parolier: Jerry Herman •
Libettiste: Harvey Fierstein •
Metteur en scène: Terry Johnson •
Chorégraphe: Gillian Lynne •
Avec: Denis Lawson (Georges), Douglas Hodge (Albin), Stuart Neil (Jean-Michel), Alicia Davies (Anne), Ian Mitchell (Edouard Dindon), Paula Wilcox (Mme Dindon), Tracie Bennett (Jacqueline), Jason Pennycooke (Jacob)
Commentaire: After a total sell-out season at the Menier Chocolate Factory, it was revived at the Playhouse in October for what was announced as a strictly limited 12 week run. There were some cast changes for this transfer, significantly with Denis Lawson as Georges. This transfer was hugely successful so the three months was extended, and in order to boost the box office and cope with a series of extensions, the leading roles were regularly re-cast every three months. In January 2009 the replacements were Graham Norton (Albin) and Steven Pacey (Georges); in May Roger Allam played Albin and Philip Quast reprised his original role as Georges; in September John Barrowman and Simon Burke played Albin and Georges respectively; and for the final months Douglas Hodge and Denis Lawson returned to end what had been a triumphant run. It finally closed on January 2nd 2010. The production won an Olivier Award for Best Musical Revival and Douglas Hodge won the Best Actor Award. (plus)
Presse: MICHAEL BILLINGTON for THE GUARDIAN says, "It may not be a great musical, but it is still a showbiz landmark in its genial endorsement of gay marriage."
NICHOLAS DE JONGH for THE EVENING STANDARD says, "Terry Johnson’s old-fashioned, even reactionary production, which fits far more comfortably into the Playhouse than the little Chocolate Factory, scene of its January opening, reminds us just why La Cage aux Folles still exerts such a strong appeal for traditional, non-gay audiences."
LISA MARTLAND for THE STAGE says, "La Cage is still a winner more than 20 years after its original Broadway opening."
QUENTIN LETTS for THE DAILY MAIL says, " La Cage is a belter of a night out."
Sam Marlowe for THE TIMES says, "Suddenly, the West End sparkles...a production that delights."
MICHAEL COVENEY for THE INDEPENDENT says, " Fantastic revival...rich, melodic score."
CHARLES SPENCER for THE DAILY TELEGRAPH says, "This joyous show and this wonderful performance deserve every hurrah and standing ovation they receive...This is a glorious night of showbiz razzle-dazzle and emotional generosity."
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Musical
West End Transfer
9) The harder they come (West End Transfer)
Joué durant 3 mois
Nb de représentations: 112 représentations
Première preview: 23 May 2008
Première: 09 June 2008
Dernière: 13 September 2008
Compositeur: Perry Henzell •
Parolier: Perry Henzell •
Libettiste:
Metteur en scène: Kerry Michael • Dawn Reid •
Chorégraphe: Jackie Guy •
Avec: Rolan Bell (Ivan), Joanna Francis (Elsa), Marlon King (Pedro), Joe Speare (José), Susan Lawson-Reynolds (Pinky), Derek Elroy, Victor Romero-Evans (Preacher), Marcus Powell , Ricardo Coke-Thomas, Jacqui Dubois, Neisha-yen Jones.
Commentaire: This had undergone some re-writing since its Stratford East outings, and, with a running time of three hours, some critics felt it was now somewhat overblown and drawn out. However, Rolan Bell’s performance was even stronger, and, in the words of the Financial Times critic, “It is very hard to dislike a show that dismisses its audience for the interval with the mischievous words ‘Fifteen minute ganja break’.” The show transferred to the Playhouse in June where it ran for fourteen weeks, closing on September 13th. (plus)
Presse:
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Musical
Revival
8) Footloose (Revival)
Joué durant 3 mois 1 semaine
Nb de représentations: 123 représentations
Première preview: 17 August 2007
Première: 22 August 2007
Dernière: 01 December 2007
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: Following its closure at the Novello Theatre in November 2006, the show went back on tour, opening in Salford in January 2007 and running until July. It then returned to London’s Playhouse Theatre in August for a second run, ending on December 1st. (plus)
Presse:
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Musical
Original
7) Dancing in the streets (Original)
Joué durant 11 mois 2 semaines
Première preview: 01 August 2006
Première: 01 August 2006
Dernière: 14 July 2007
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Divers •
Metteur en scène:
Chorégraphe:
Avec:
Commentaire:
Presse:
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Musical
Revival
6) Rocky Horror Show (The) (Revival)
Joué durant 2 semaines
Première preview: 05 July 2006
Première: 06 July 2006
Dernière: 22 July 2006
Compositeur: Richard O'Brien •
Parolier: Richard O'Brien •
Libettiste: Richard O'Brien •
Metteur en scène: Christopher Luscombe •
Chorégraphe: Jenny Arnold •
Avec: Steve Pemberton/ Nigel Planer/ Roger Lloyd-Pack (Narrator – 1 week each), David Bedella ((Frank-n-Furter), Julian Essex-Spurrier (Rocky ), Matthew Cole (Brad), Suzanne Shaw (Janet), Iain Davey (Riff-Raff), Shona White (Magenta), Kay Murphy (Columbia), Nathan Amzi (Eddie/Dr Scott)
Commentaire: This was the prelude to yet another new touring production, playing briefly in the West End before opening in Glasgow for a six month tour. (plus)
Presse:
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Musical
Original London
5) Hedwig and the Angry Inch (Original London)
Joué durant 1 mois 2 semaines
Nb de représentations: 55 représentations
Première preview: 08 September 2000
Première: 19 September 2000
Dernière: 04 November 2000
Compositeur: Stephen Trask •
Parolier: Stephen Trask •
Libettiste: John Cameron Mitchell •
Metteur en scène: Jeffrey N. Moss •
Chorégraphe: Jerry Mitchell •
Avec: Michael Cerveris (Hedwig), Elizabeth Marsh (Yitzak)
Commentaire: This fringe rock-musical premiered off-Broadway in February 1998, where it ran for two years and won several awards. Despite its cult success, the two-hander did not go down well with London critics or audiences and ran just seven weeks.
Michael Coveney in the Daily Mail said “the whole tacky experience is like watching a bad Dusty Springfield concert performed by Lily Savage with a good backing band.” A film version was made in 2001 directed by John Cameron Mitchell who also played the role of Hedwig. The film version won several awards and has become a cult classic. (plus)
Presse: THE INDEPENDENT loved the show saying, "As a musical, Hedwig has it all: melodrama, pathos, searing humour and a handful of fantastic songs. Move over Rocky Horror and make way for a brand new cult."
THE TIMES was more luke-war saying, "This off-Broadway cult looks awfully thin in the West End."
THE DAILY TELEGRAPH says, "Though small in scale, and more of a cabaret than a full-blown tune-and-toe show, there is little doubt that Hedwig and the Angry Inch is the best rock musical since The Rocky Horror Show."
THE EVENING STANDARD says, "If only Michael Cerveris, in the role of Hedwig, had the right voice and wit, then this cabaret-musical might have been able to secure the cult status and coterie appeal it achieved off-Broadway. But it turns out to be virtually a one-transexual show and Cerveris's nasal, throaty voice is all too often blotted out by the eloquent, four-strong band that pitches itself too loud."
TIME OUT says 'Hedwig', " suffers from being nowhere near as funny as it has hitherto assumed itself to be."
THE STAGE says, "American Michael Cerveris has great stage presence and a hell of a voice..."
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Musical
Original
4) Good Rockin' Tonite (Original)
Joué durant 3 mois 2 semaines
Première preview: 18 March 1992
Première: 18 March 1992
Dernière: 04 July 1992
Fait partie de: London Run
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:
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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)
Musical
Original London
3) Nite Club Continental (Original London)
Joué durant
Nb de représentations: 29 représentations
Première preview: Inconnu
Première: 09 March 1988
Dernière: Inconnu
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Divers •
Metteur en scène: Dennis Deal •
Chorégraphe: Dennis Deal •
Avec: Ruth Madoc (Kay Goodman), Philip Gould (Mitch Dupre), Kathryn Evans (Dorothy Flynn), Peter Bishop (Sal), Stuart Milligan (Buck Holden)
Commentaire: At pains to point out this was a loving “pastiche” of sounds and styles of the 1950s , created with seriousness, accuracy and care, and already something of a cult hit following its Los Angeles triumph - its composer-director-choreographer Dennis Deal received almost universal derision from the critics. Ruth Madoc and Kathryn Evans mostly impressed, as did the backing trio of male chorus - but the show itself came to a swift end. (plus)
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Musical
West End Transfer
2) Girlfriends (West End Transfer)
Joué durant 1 mois
Nb de représentations: 43 représentations
Première preview: Inconnu
Première: 16 October 1987
Dernière: 21 November 1987
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Divers •
Metteur en scène: John Rettalack •
Chorégraphe: Stuart Hopps •
Avec: Caroline Mander (Amy), Fletcher Mathers (Brenda), Sara Weymouth (Carol), Hazel O’Connor (Phyllis), Donna Champion, Clare Burt, Jenna Russell, Julie Jupp, Norma Attalah, Tracy Halsey, Tina Jones, David Easter.
Commentaire: Originally produced at the Oldham Coliseum, this was considerably re-written for the West End, and was a virtually sung-through piece, with very little linking dialogue. The music was praised, but the lyrics and book came in for a lot of criticism. All in all, it was considered an honourable failure. (plus)
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