Prince Edward Theatre
Londres - Angleterre

Construction: 1930

Topologie du théâtre

Nombre de salles actives: 1
Salle 1: (1619)    1930 - Actif

Accès

En métro: Piccadilly Circus/Tottenham Court Road/Leicester Square
En bus:
Adresse: 28 Old Compton Street, London, W1D 4HS

Evolution

Bâtiment: 1930. Designed by Edward A. Stone with Marc Henri and Gaston Laverdet / 1936. Converted to cabaret-restaurant use / 1942. Becomes Queensberry All-Services Club / 1946. Restored by T. and P. Braddock for theatrical performances / 1954. Converted to Cinerama / 1978. Returned to theatrical use / 1993. Rehabilitation programme by architects Renton Howard Wood Levine for Bernard Delfont and Cameron Mackintosh
Nom: 1935 London Casino / 1942 Queensberry All Services Club / 1954 Casino Cinerama Theatre

Propriétaire(s)

Delfont Mackintosh Theatres

Remarquable

The high-quality restoration of a theatre which had, over a protracted period, suffered many detrimental changes.
1619 
1930 - Actif

Tickets en vente et annonce du cast de "Aladdin" au Prince Edward

 Londres (Angleterre)
 Prince Edward Theatre  
 Aladdin  
 Publié le 23 nov. 2015
Les tickets sont en vente depuis aujourd'hui.
Le cast complet est annoncé.
  

Since its beginnings at the end of the 17th century, Old Compton Street - named after Henry Compton, former vicar of the now ruined St Anne’s Church, Soho, Dean of the Chapel Royal and Bishop of London - has evolved as a busy, sometimes quite exotic, range of small shops and bars, with, particularly in its early days, a decidedly French flavour. A matter of yards away at 49 Dean Street, almost opposite St Anne's Church, is the French House, a pub frequented by actors, artists and poets, including Dylan Thomas and Brendan Behan, that became the headquarters of the Free French Forces during the Second World War.
If one looks about one from a position in front of the theatre, which occupies the angle with Greek Street, it would seem perfectly feasible to drown in an ocean of pleasure without going very far at all, surrounded as one is by restaurants of infinite variety, strip bars, sex shops, ‘models at first floor, please ring’, cinemas and theatres. Buitt on the site of a draper’s shop known as The Emporium, the Prince Edward uncomfortably resembles a cinema, it was competently if slightly forbiddingly designed in 1930 by Edward A. Stone, architect of the Whitehall (now Trafalgar Studios) and Piccadilly Theatres, with interior works in fuchsia and gold by French designers Marc Henri and Gaston Laverdet, who also worked at the Whitehall and Piccadilly. The English palazzo-style building sits heavily: raised above a polished granite base, the building is faced in finely laid brown brick with deeply recessed joints, the front elevation relieved to some extent by its stuccoed attic storey and green shuttered windows under heavily bracketed and coffered eaves. At ground level a modem canopy, added in 1993, shelters five pairs of brass entrance doors.
Inside, a large, welcoming circular foyer gives access to the surprisingly grand auditorium, revitalized in 1993 by architects Renton Howard Wood Levine, through the inspirational drive of Bernard (later Lord) Delfont and Cameron Mackintosh. The whole is decorated in a combination of deep red and old gold. Prior to 1993, the theatre had undergone a catalogue of changes. Opening on 3 April 1930, it was converted in 1936 to a cabaret-restaurant and renamed the London Casino. Opening on 2 April that same year, the theatre closed again in 1939 to become a services boxing club. At the end of the war, theatre use was restored until 1954, when the relatively short-lived Cinerama craze came to London. The year 1978 saw live shows and almost immediate success restored to the theatre, with Elaine Paige starring in both Evita (1978) and Chess (1986), followed in 1989 by Cole Porter’s Anything Goes, Mamma Mia! (1999) and Mary Poppins (2004).

1930. Designed by Edward A. Stone with Marc Henri and Gaston Laverdet / 1936. Converted to cabaret-restaurant use / 1942. Becomes Queensberry All-Services Club / 1946. Restored by T. and P. Braddock for theatrical performances / 1954. Converted to Cinerama / 1978. Returned to theatrical use / 1993. Rehabilitation programme by architects Renton Howard Wood Levine for Bernard Delfont and Cameron Mackintosh

1935 London Casino / 1942 Queensberry All Services Club / 1954 Casino Cinerama Theatre

The high-quality restoration of a theatre which had, over a protracted period, suffered many detrimental changes.


Musical
Revival

1) Mary Poppins (Revival)

Joué durant  6 mois 3 semaines

Première preview: mer. 23 octobre 2019
Première: mer. 13 novembre 2019
Dernière: Open end

Compositeur: George Stiles • Richard M Sherman • Robert B Sherman •  
Parolier: Anthony Drewe • Richard M Sherman • Robert B Sherman •  
Libettiste: Julian Fellowes •  
Metteur en scène: Richard Eyre •  
Chorégraphe:  
Avec: Zizi Strallen, Charlie Stemp, Joseph Millson, Petula Clark, Amy Griffiths, Claire Moore, Claire Machin, Barry James, Yves Adang, Lydia Bannister, Angeline Bell, Lydia Boulton, Matt Cox, Adam Davidson, Katie Deacon, Danielle Delys, Joshua Denyer, Stan Doughty, Glen Facey, Davide Fienauri, Ian Gareth-Jones, Mark Goldthorp, Joanna Gregory, Catherine Hannay, Jacqueline Hughes, Jason Kajdi, Sam Lathwood, Jordan Livesey, Ceili O’Connor, Malinda Parris, Alex Pinder, Ben Redfern, Rachel Spurrell, Lucie-Mae Sumner, Rhys West, Monique Young, Adelaide Barham, Imogen Bourn, Charlotte Breen, Ellie Kit Jones, Nuala Pebredy, Joseph Duffy, Samuel Newby, Gabriel Payne, Edward Walton, Fred Wilcox 


Commentaire: The original production was directed by Richard Eyre along with co-direction and choreography by Matthew Bourne and Stephen Mear. The production had an out of town tryout in Bristol before opening in the West End in December 2004 at the Prince Edward Theatre, making it the only Disney musical to premiere in the UK. The original cast featured Laura Michelle Kelly in the role of Mary Poppins for which she went on to win the 2005 Olivier Award for Best Actress in a Musical.
Mary Poppins the Musical transferred to Broadway, opening at the New Amsterdam Theatre on November 16, 2006.
It returns to the Prince Edward Theatre in October 2019 starring West End favourites Zizi Strallen and Charlie Stemp.  (plus) 


Presse:

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Musical
Original London

17) Aladdin (Original London)

Joué durant  3 ans 2 mois 2 semaines

Première preview: ven. 27 mai 2016
Première: jeu. 09 juin 2016
Dernière: sam. 24 août 2019

Compositeur: Alan Menken •  
Parolier: Chad Beguelin • Howard Ashman • Tim Rice •  
Libettiste: Chad Beguelin •  
Metteur en scène: Casey Nicholaw •  
Chorégraphe: Casey Nicholaw •  
Avec: Dean John-Wilson (Aladdin), Jade Ewen (Jasmine), Trevor Dion Nicholas (Genie), Don Gallagher (Jafar), Peter Howe (Iago), Irvine Iqbal (Sultan), Nathan Amzi (Babkak), Stephen Rahman-Hughes (Kassim), Rachid Sabitri (Omar), Arran Anzani-Jones, Miles Barrow, Albey Brookes, Lauren Chia, Bianca Cordice, Leon Craig, Daniel de Bourg, Seng Henk Goh, Melanie Elizabeth, Kade Ferraiolo, Michelle Chantelle Hopewell, Fred Johanson, Mitch Leow, Oliver Lidert, Thierry Picaut, Alex Pinder, Briony Scarlett, Kyle Seeley, Sadie-Jean Shirley, Ricardo Spriggs, Katie Singh, Dawnita Smith, Marsha Songcome, Kayleigh Thadani and Jermaine Woods 


Commentaire:   


Presse: "The Genie’s big show-stopper Friend Like Me – a jazzy riot of infectious brio and trick-mustering showmanship that conjures the spirit of Las Vegas and hits the jack-pot in terms of hummability – will leave you heading for the interval ice-creams with a smile on your face." Dominic Maxwell for The Telegraph

"Amidst the orgy of bling-flashing and scimitar-waving, it's the moments of mischief that charm rather than the attempts at the heartfelt." Paul Taylor for The Independent

"Impressive stage magic, a gold-dripping design and a party-loving genie make this energetic adaptation of the animated movie a wicked treat." Michael Billington for The Guardian

"Casey Nicholaw’s big-budget production is packed with busy numbers, but Trevor Dion Nicholas is the reason to come and see this glitzy show." Henry Hitchings for The Evening Standard

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Musical
Revival

16) Miss Saigon (Revival)

Joué durant  1 an 9 mois 1 semaine

Première preview: sam. 03 mai 2014
Première: mer. 21 mai 2014
Dernière: sam. 27 février 2016

Compositeur: Claude-Michel Schonberg •  
Parolier: Alain Boublil • Richard Jr Maltby •  
Libettiste: Alain Boublil • Claude-Michel Schonberg •  
Metteur en scène: Laurence Connor •  
Chorégraphe: Bob Avian • Geoffrey Garratt •  
Avec: Eva Noblezada (Kim), Jon Jon Briones (Engineer), Alistair Brammer (Chris), Hugh Maynard (John),Tamsin Carroll (Ellen), Rachelle Ann Go (GiGi), Julia Abueva, Natalie Chua, Jon-Scott Clark, Rob Compton , Callum Francis, Ashley Gilmour, Maria Graciano, Simon Hardwick, Jack Harrison-Cooper, Matthew Jeans, Kurt Kansley, Kittiphun Kittipakapom, David Lee, Mitch Leow, Ela Lisondra, Tanya Manalang, Christian Rey Marbella, Kanako Nakano, Thao Therese Nguyen, Saori Oda, Ariel Reonal, Jon Reynolds, Romeo Salazar, Jordan Shaw, Marsha Songcome, Eloisa Amalia Tan, Christian Tanamal, Thao Vilayvong, Amadeus Williams, Gerald Zarcilla. 


Commentaire:   


Presse: "Laurence Connor’s production has a cinematic fluency and he keeps the dramatic tension simmering throughout. For all its many merits, however, I find it easier to admire Miss Saigon than to love it." Charles Spencer for Daily Telegraph

"I can't say I was deeply moved, unlike the lady in front of me forever dabbing her eyes, but I came away feeling this is a successful variation on an old tale and put across with exemplary vigour." Michael Billington for The Guardian

"The revelation is Eva Noblezada in her professional debut as Kim. Combining innocence with an incredible vocal range she is the human heart of an impressive production that is fundamentally opera for people who don’t like opera. A stone cold hit." Neil Norman for The Express

"Sir Cameron Mackintosh’s revival of the 1980s musical Miss Saigon is staged with such insistent extravagance that it bludgeons its way to success. Great art? Nope. But big theatre." Quentin Letts for The Daily Mail

"The result is a show of high-stakes intensity, which vividly dramatises private passions against a striking historical background. And its most notable feature is 18-year-old Noblezada (Kim), who seems a remarkable find." Henry Hitchings for The Evening Standard

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Musical
Revival

15) Jersey Boys (Revival)

Joué durant  5 ans 11 mois 3 semaines

Première preview: jeu. 28 février 2008
Première: mar. 18 mars 2008
Dernière: dim. 09 mars 2014

Compositeur: Bob Gaudio •  
Parolier: Bob Crewe •  
Libettiste: Marshall Brickman • Rick Elice •  
Metteur en scène: Des McAnuff •  
Chorégraphe: Sergio Trujillo •  
Avec: Ryan Molloy ( Frankie Valli ), Stephen Ashfield (Bob Gaudio), Philip Bulcock (Nick Massi), Glenn Carter ( Tommy de Vito ), Simon Adkins (Bob Crewe), Suzy Bastone (Mary Delgado), Jye Frasca (Joe Pesci), Michelle Francis, Tee Jaye, Tom Lorcan. 


Commentaire: This turned out to be much more than a jukebox musical, and was superbly directed as a kind of show-business documentary saga moving across the decades and also providing concert-style performance interludes of some of the best-loved songs of the era. It opened on Broadway in November 2005 and won four Tony Awards, including Best Musical. The London production was re-created by the New York team, and won an Olivier as the Best New Musical of 2008.
18/3/2008 - 9/3/2014: Pricne Edward - London
12/3/2014 - 26/3/2017 : Piccadilly Theatre - London  (plus) 


Presse: NICHOLAS DE JONGH for THE EVENING STANDARD says, "Slickly animated production." PAUL TAYLOR for THE INDEPENDENT says, "Keeps us waiting through about 40 minutes of bewilderingly detailed background about the genesis of the group before treating us to an elating blast of 'Sherry', their first big hit...The book by Woody Allen collaborator, Marshall Brickman and Rick Elice has a terse, savvy wit." CHARLES SPENCER for THE DAILY TELEGRAPH says, "It has a quality you rarely find in musicals - gritty honesty - as well as the best collection of pop hits since Mamma Mia!...Jersey Boys superbly captures the thrills and tensions of four testosterone-charged young men discovering fame and fortune after years of dogged failure." PAUL VALE for THE STAGE says, "This piece remains very much a jukebox musical." BENEDICT NIGHTINGALE for THE TIMES says, "It has the character, the narrative interest and the sense of place – as the backcloth indicates, the industrial badlands west of the Hudson River – to rise way above its genre." LYN GARDNER for THE GUARDIAN says, "A pleasant, forgettable night out; no more, no less."

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Musical
Original

14) Mary Poppins (Original)

Joué durant  3 ans 4 semaines

Nb de représentations: 1283 représentations
Première preview: lun. 06 décembre 2004
Première: mer. 15 décembre 2004
Dernière: sam. 12 janvier 2008

Compositeur: George Stiles • Richard M Sherman • Robert B Sherman •  
Parolier: Anthony Drewe • Richard M Sherman • Robert B Sherman •  
Libettiste: Julian Fellowes •  
Metteur en scène: Richard Eyre •  
Chorégraphe: Matthew Bourne •  
Avec: Laura Michelle Kelly (Mary Poppins), Gavin Lee (Bert), David Haig (George Banks), Linzi Hateley (Winifred Banks), Rosemary Ashe (Miss Andrew), Julia Sutton (Bird Woman), Kevin Williams (Park Keeper) 


Commentaire: The musical had been re-worked to incorporate more of the original P.L.Travers’ stories than had appeared in the film, and to remove some of the cartoon effects. The children were ruder and more snobbish, Mrs Banks no longer quite so dizzy, Mr Banks more workaholic, and Mary Poppins herself far more eccentric and formidable than Julie Andrews. It played two months of try-outs at the Bristol Hippodrome before moving into the West End. All in all this was more “real” and less “cockneyfied” than the film. It was also a technically awe-inspiring show with its special effects, including Bert tap-dancing up one side of the proscenium arch and then continuing upside-down until descending on the other side, and, of course, Mary Poppins flying over the heads of the audience at the finale.  (plus) 


Presse: NICHOLAS DE JONGH for THE EVENING STANDARD says, "I never thought in my wildest theatrical fantasies that Walt Disney's syrup mountain of a film...could be worked up into such a sharp, thoughtful stage musical."
THE INDEPENDENT says, "With its magic and chutzpah, it simply blows away the opposition from rival West End musicals, emerging as the year's most joyous, spectacular and heart-tugging show in that genre."
MICHAEL BILLINGTON for THE GUARDIAN says, "For much of the evening it is characterised by a mechanical professional efficiency rather than the quality of ecstasy we all look for in musicals."
BENEDICT NIGHTINGALE for THE TIMES says, "Marvellously fresh adaptation.... Supercalifragilisticexpialidocious — or so I’d say."
SHERIDAN MORLEY for THE DAILY EXPRESS says, "What Mackintosh and his director, Richard Eyre, have done is to restore the human dimension."
QUENTIN LETTS for THE DAILY MAIL says, "This stage version has much much more punch than the adored old film version."
CHARLES SPENCER for THE DAILY TELEGRAPH says, "The stage version of Mary Poppins is heaps better than the movie - funnier, sharper, more inventive and with a far greater variety of mood"

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Musical
Original

13) Mamma Mia! (Original)

Joué durant  5 ans 1 mois 3 semaines

Première preview: mar. 23 mars 1999
Première: mar. 06 avril 1999
Dernière: sam. 29 mai 2004

Compositeur: Benny Andersson • Björn Ulvaeus •  
Parolier: Benny Andersson • Björn Ulvaeus •  
Libettiste: Catherine Johnson •  
Metteur en scène: Phyllida Lloyd •  
Chorégraphe: Anthony Van Laast •  
Avec: Siobhan McCarthy (Donna), Lisa Stokke (Sophie), Andrew Langtree (Sky), Nicolas Colicos (Bill), Hilton McRae (Sam), Paul Clarkson (Harry), Jenny Galloway (Rosie), Louise Plowright (Tanya), Eliza Lumley, Melissa Gibson, Neal Wright, Nigel Harman, Tom Magdich, Caroline Sheen 


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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Musical
Revival

12) Show Boat (Revival)

Joué durant  4 mois 3 semaines

Nb de représentations: 175 représentations
Première preview: lun. 20 avril 1998
Première: mar. 28 avril 1998
Dernière: sam. 19 septembre 1998

Compositeur: Jerome Kern •  
Parolier: Oscar Hammerstein II •  
Libettiste: Oscar Hammerstein II •  
Metteur en scène: Harold Prince •  
Chorégraphe: Susan Stroman •  
Avec: Terry Burrell (Julie), Hugh Panaro (Ravenal), Teri Hansen (Magnolia), Michel Bell (Joe), Gretha Boston (Queenie), George Grizzard (Cap ’n Andy), Clare Leach (Ellie) 


Commentaire: This production, with a cast of 57 and directed by the legendary Hal Prince, had originated in Toronto, then transferred to Broadway, where it was highly praised and heaped with awards. It was hugely spectacular, superbly staged and performed, and felt by many to be one of the finest productions to grace the London stage in many a year. It ran for 21 weeks on a limited term engagement.  (plus) 


Presse: SHERIDEN MORLEY said, "Musicals don't come a lot better than this".

THE TIMES said, "It's a well-oiled, bustling production".

THE DAILY TELEGRATH says, "Sheer entertainment and real emotional depth"

NICHOLAS DE JONGH of THE EVENING STANDARD says the production is "All heat, urgency and momentum".

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Musical
Original

11) Martin Guerre (Original)

Joué durant  1 an 3 mois 2 semaines

Première preview: ven. 01 novembre 1996
Première: lun. 11 novembre 1996
Dernière: sam. 28 février 1998

Compositeur: Claude-Michel Schonberg •  
Parolier: Alain Boublil • Claude-Michel Schonberg • Edward Hardy • Herbert Kretzmer •  
Libettiste: Alain Boublil • Claude-Michel Schonberg •  
Metteur en scène: Declan Donnellan •  
Chorégraphe: Bob Avian •  
Avec: Iain Glenn (Arnaud du Thil), Rebecca Lock (Bertrande de Rols), Matt Rawle (Martin Guerre), Michael Matus (Benoit), Jerome Pradon (Guillaume), Ann Emery, Sheila Reid, Julia Sutton, Susan Jane Tanner, Martin Turner. 


Commentaire: The first version premièred in London at the Prince Edward Theatre on 10 July 1996. Edward Hardy worked on the lyrics and Declan Donnellan directed. It was a spectacular production but not only were the reviews mixed there were also some major concerns expressed by the public and the creative team alike. In the early weeks the creative team worked hard and quickly to clarify the narrative, rearrange some of the material and remove one pretty but non-essential song. But the story did not have the emotional tug on the heartstrings that their previous work had. Stephen Clark took over as co-lyricist and small changes were continually being made.  (plus) 


Presse: Quand Martin Guerre a réouvert au Prince Edward, la presse a été nettement meilleure:
"The narrative is clear and full of suspense, there are some sharper lyrics (by Stephen Clark), and the emotional volume has been dramatkally turned up" Georgina Brown, Mail on Sunâay, 11.17,96

"The relaunched version at the Prince Edward at least has a narrative drive and cohérence missing from the original" Michael Billington, Guardian, 11.13,96

"The pièce has now been rejigged and, in my view, significantly improved" Benedict Nightingale, The Times, 11.13,96

"The show has been restructured to make it both clearer and more plau­sible,..it now has scènes of real power and passion, while its achingiy romantic mélodies linger resonantly in the mernory" Charles Spencer, Daiîy Telegraph, 11.12.96

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Musical
Original

10) Martin Guerre (Original)

Joué durant  1 an 7 mois 3 semaines

Nb de représentations: 695 représentations
Première preview: ven. 21 juin 1996
Première: mer. 10 juillet 1996
Dernière: sam. 28 février 1998

Compositeur: Claude-Michel Schonberg •  
Parolier: Alain Boublil • Claude-Michel Schonberg • Edward Hardy • Herbert Kretzmer •  
Libettiste: Alain Boublil • Claude-Michel Schonberg •  
Metteur en scène: Declan Donnellan •  
Chorégraphe: Bob Avian •  
Avec: Iain Glenn (Arnaud du Thil), Juliette Caton (Bertrande de Rols), Matt Rawle (Martin Guerre), Michael Matus (Benoit), Jerome Pradon (Guillaume), Ann Emery, Sheila Reid, Julia Sutton, Susan Jane Tanner, Martin Turner.
(In the revised version the role of Bertrande was shared with Rebecca Lock) 


Commentaire: Based on the 1982 French film “The Return of Martin Guerre”, and a 1993 re-make “Sommersby”, this was a £3.75 million mega-musical which had apparently been seven years in the planning. The original previews were cancelled and delayed for three weeks because of technical difficulties, leading to threatened court-action from disappointed ticket-holders demanding compensation for expenses incurred. It was an impressive, worthy but somewhat dark and humourless show and received a series of very unenthusiastic reviews. Business dropped off, but rather than abandon the show, Cameron Mackintosh spent another half million pounds on a major re-write, including new songs (and the services of yet another lyricist, Stephen Clark) and much revision. Four months after opening, the show closed for three days and was then re-launched as the “New Martin Guerre”. It was shorter and more focussed on the romantic story, with less religious conflict and more emphasis on the character of Bertrande. However, it closed in February 1998, in spite of winning the Olivier Award for Best New Musical, allegedly with total losses of £7 million.  (plus) 


Presse:

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Musical
Original

9) Martin Guerre (Original)

Joué durant  3 mois 2 semaines

Première preview: ven. 21 juin 1996
Première: mer. 10 juillet 1996
Dernière: dim. 27 octobre 1996

Compositeur: Claude-Michel Schonberg •  
Parolier: Alain Boublil • Claude-Michel Schonberg • Edward Hardy • Herbert Kretzmer •  
Libettiste: Alain Boublil • Claude-Michel Schonberg •  
Metteur en scène: Declan Donnellan •  
Chorégraphe: Bob Avian •  
Avec: Iain Glenn (Arnaud du Thil), Juliette Caton (Bertrande de Rols), Matt Rawle (Martin Guerre), Michael Matus (Benoit), Jerome Pradon (Guillaume), Ann Emery, Sheila Reid, Julia Sutton, Susan Jane Tanner, Martin Turner. 


Commentaire: The first version premièred in London at the Prince Edward Theatre on 10 July 1996. Edward Hardy worked on the lyrics and Declan Donnellan directed. It was a spectacular production but not only were the reviews mixed there were also some major concerns expressed by the public and the creative team alike. In the early weeks the creative team worked hard and quickly to clarify the narrative, rearrange some of the material and remove one pretty but non-essential song. But the story did not have the emotional tug on the heartstrings that their previous work had. Stephen Clark took over as co-lyricist and small changes were continually being made.  (plus) 


Presse: Les critiques de la version originale (version 1) étaient majoritairement mauvaises:
"Its book lacks real narrative thrust and excitement" (NICHOLAS DE JONGH, EVENING STANDARD, 7.11.96)

Les Miz and Miss Saigon had a mélodie sweep and emotional clarity signally absent from Martin Guerre" (MICHAEL CO-VENEY, OBSERVER, 7.14.96);

"In Declan Donnellans stylistically-insecure pro¬duction the dramatic métronome has stopped ticking" (ROBERT BUTLER, INDEPENDENT ON SUNDAY, 7.14.96);

"Martin Guerre îs a bore, and a surprïsingly inemeient bore" (ALISTAIR MACAULAY, FINANCIAL TIMES, 7.11,96).

Certaines étaient un peu plus favorables... :
"Martin Guerre is an admirable, high-quality company création ... a beautifully produced addition to London's theatreland" (STEVE GRANT, TIME OUT, 7.17,96)

"For the third time in little more than a décade, or so it would seem from ail but about two of the first dozen reviews, Alain Boubiil and Claude-Michel Schonberg hâve written a great and classic musical which nobody likes except the public. .Martin Guerre is as much a masterpiece of musical magie and mystery as that earlier score (Les Misérables)" (Sheridan Morley, Spectator, 7.20.96).

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Musical
Original London

8) Crazy for you (Original London)

Joué durant  2 ans 11 mois 4 semaines

Première preview: mer. 03 mars 1993
Première: mer. 03 mars 1993
Dernière: sam. 24 février 1996

Compositeur: George Gershwin •  
Parolier: Ira Gershwin •  
Libettiste: Ken Ludwig •  
Metteur en scène: Mike Ockrent •  
Chorégraphe: Susan Stroman •  
Avec: Kirby Ward (Bobby Child), Ruthie Henshall (Polly Baker), Avril Angers (Mother), Amanda Prior (Irene Roth), Chris Langham (Bela Zangler) , Don Fellows (Everett Baker), Kieran Mcllroy, Stephen Mear, Gavin Lee 


Commentaire:   


Presse:

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Musical
Original London

7) Sugar (ou) Some like it hot (Original London)

Joué durant  3 mois

Nb de représentations: 108 représentations
Première preview: Inconnu
Première: jeu. 19 mars 1992
Dernière: sam. 20 juin 1992

Compositeur: Jule Styne •  
Parolier: Bob Merril •  
Libettiste: Peter Stone •  
Metteur en scène: Tommy Steele •  
Chorégraphe: Norman Maen •  
Avec: Tommy Steele (Joe), Billy Boyle (Jerry), Mandy Perryment (Sugar),
Royce Mills (Osgood), Graham Hoadley, Stephen Mear, Kim Harwood, Kelly Hunter 


Commentaire: This London version originated at the Churchill Theatre, Bromley and was heavily revised, with the emphasis switched from the character of Sugar to the show’s star and director, Tommy Steele. It was also given a new title – the same as the famous film. It was damned by the critics – inevitably known as “Some Like it Luke Warm”. Tommy Steele was forced to withdraw from the cast following an accident, and as a result, the show soon closed, apparently having lost over £2 million.  (plus) 


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Musical
Original

6) Hunting of the Snark (The) (Original)

Joué durant  1 mois 3 semaines

Première preview: Inconnu
Première: jeu. 24 octobre 1991
Dernière: sam. 14 décembre 1991

Compositeur: Mike Batt •  
Parolier: Mike Batt •  
Libettiste:  
Metteur en scène: Mike Batt •  
Chorégraphe: Jo Anne Robinson •  
Avec: David McCallum (Lewis Carroll), Kenny Everett (Billiard Maker), Philip Quast (Bellman), Mark McGann (Baker), Jae Alexander (Bandmaster), David Firth (Banker), Veronica Hart (Beaver), Peter Ledbury (Broker), Allan Love (Barrister), Gary Martin (Bishop) , John Partridge (Butcher) 


Commentaire: This stage production cost over £2 million and contained a 50 piece orchestra and hi-tech computerised scenery and projections. The sheer spectacle and technical achievement were praised, but the show itself was a very great disappointment and considered to be one man’s egotistic folly.
It ran just over seven weeks.  (plus) 


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Musical
Original

5) Children of Eden (Original)

Joué durant  2 mois 3 semaines

Première preview: Inconnu
Première: mar. 08 janvier 1991
Dernière: sam. 06 avril 1991

Compositeur: Stephen Schwartz •  
Parolier: Stephen Schwartz •  
Libettiste: John Caird •  
Metteur en scène: John Caird •  
Chorégraphe: Matthew Bourne •  
Avec: Ken Page {God), Martin Smith (Adam), Shezwae Powell (Eve), Richard Lloyd-King (Snake), Adrian Beaumont {Cain), Kevin Colson {Noah), Ruthie Henshall, Frances Ruffelle 


Commentaire: 'The opening of Children of Eden in the West End of London coincided with the start of war with Iraq and one of the worst slumps in audience attendence in recent years; as a result this spectacular musical was unable to find its audience.
Mais ce n'est pas le seul problème…
A “new biblical musical” told the story of the Old Testament from the Creation until just after the Flood. In a kind of throwback to the earlier success of Stephen Schwartz’s “Godspell”, the characters appeared in cute costumes, some of them appearing as cute, furry little animals. God and Eve were portrayed as jolly black performers, and Cain’s slaying of Abel was performed “in the humdrum context of a family spat”. The scenery was domed scaffolding, with disco and laser effects, and according to one critic: “The Garden of Eden was decorated in tatty hanging drapes and was like unto the current state of Liberty’s in its carpet and fabric sales department”. With very mixed critical reaction, the general cry was “Where is the nearest Exodus”? The show lost all its investment and closed after ten weeks.  (plus) 


Presse: Daily Telegraph: 'Neither a triumphant success or ghastly failure' - '...fervently uplifting ballads' - '...animals presented most imaginatively thanks largely to Richard Sharples's witty costumes and Matthew Bourne's inventive choreography. The giraffes are especially enchanting' - 'Adrian Beaumont is excellent as Cain, Earlene Bentley stops the show after the flood has subsided with 'Ain't it Good'' - 'Children of Eden is mildly and fitfully entertaining'

Guardian: '...an amiable well directed piece of biblical storytelling but one that lacks a big idea' - 'Several of his 21 songs fall pleasantly on the ear. What his score lacks is a consistency of idiom; thus we get a 30's tea dance number from the snake, a forties close harmony routine from Noah's offspring, a sixties disco swinger from Ham and Company and a periodless hot gospel number from Mama Noah' - 'Best features of the evening are, in fact, John Caird's production and John Napier's design concept'

Daily Express
'Schwartz's music was pleasant but unmemorable, though the voices were heavenly and he might have a psychedelic hit with 'Generations' - 'It has energy, superb choreography and some spectacular moments, especially when the chorus dressed up as animals' -

The Times
'Napier has indeed designed a staggering transformation, in which the stage as we know it has disappeared altogether, replaced by a huge arched space with 2 long galleries all around the stage floor' - 'There is no doubt that it is a remarkable spectacle' - 'Although it may be called to question artistically and spritually, it has all the hallmarks of a major popular success. Dreary it most certainly is not'

Herald Tribune
'There are one or two good numbers and some equally strong performances from Kevin Colson as Noah, Ken Page as a huge black God and Frances Ruffelle as the girl thrown of the ark for having the wrong parentage' - 'Not so much a plot show as a ecumenical revivalist pageant, it has a splendid set by John napier and several ingenious animal acts'

Plays and Players:
'The plot is a glutinous mixture of coyness and over simplification that makes the insulting platitudes of Miss Saigon look profound' - '...the cast don a variety of magnificent skeletal animal costumes, the beasts are truly amazing creations' - '...spectacular upbeat 'Generations' sung marvellously by Ray Shell's Ham'

Timeout:
'Schwartz's musical score though laced with attractive if derivative gospel 'Godspell' and swing numbers is let down by hugly variable lyrics' - 'Richard Sharples's ingenious animal costumes and John Napier's two tiered set are inspired' - 'I expect it will run for much the same reasons as Starlight Express' (Not a compliment then !!)

Independent on Sunday:
'As a drama its a shambles, musically a ragbag, there's no sex, no wit. It has a huge all singing, all dancing cast and some nice leading actors - Kevin Colson and Frances Ruffelle - and some visual tricks' -

Daily Mail
'However, there is spectacle in plenty and talent too with this multi racial cast' - 'A touching and effective Yonah from Frances Ruffelle who managed to flesh out the rough and ready routine love interest on the ark with sincerity -

Observer
'...and we heard and saw that Shezwae was beautiful and the best thing in the show..... And the name of Japheth was Anthony Barclay and he was the second best thing' - What's On '...I approached Children of Eden with some trepidation but, wonder of wonders I do believe I enjoyed Stephen Schwartz's latest entry into the musical stakes' - 'With Children of Eden I have to admit he has done a thoroughly professional job of adapting the first book of the Bible, apart from a few quibbles, has produced a successful musical' - 'Where there is a lightness of touch the show scores brillantly. It is not afraid to have a sense of humour and even in the sombre second half there's a joyous opening chorus entitled 'Generations' - 'The way the team created the animals for the ark scene is brillantly imaginable and totally believable. It is stunningly well staged and it is a element of surprise that is always there that makes it an attraction' - 'Whatever secret the show has for its success I have to admit it is certainly in every way better than either Cats or Les Miserables and as they are going to run for ever, Children of Eden could well be in the same league as these perennial hits'

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Musical
Revival

4) Anything goes (Revival)

Joué durant  1 an 1 mois 3 semaines

Première preview: Inconnu
Première: mar. 04 juillet 1989
Dernière: sam. 25 août 1990

Compositeur: Cole Porter •  
Parolier: Cole Porter •  
Libettiste: Guy Bolton • P.G. Wodehouse •  
Metteur en scène: Jerry Zaks •  
Chorégraphe: Michael Smuin •  
Avec: Elaine Paige (Reno Sweeney), Howard McGillin (Billy Crocker), Bernard Cribbins (Moonface Martin), Kathryn Evans (Erma), Ursula Smith (Mrs. Evangeline Harcourt), Martin Turner (Lord Evelyn Oakleigh), Ashleigh Sendin (Hope Harcourt) and Harry Towb (Elisha Whitney) 


Commentaire: Ever since this show was first performed (in 1925) it was known the original book, created by Guy Bolton and P.G.Wodehouse, had to be re-written at the last moment because the show involved a shipwreck scene and this would be too tasteless following a real-life shipwreck at that time. However, in the 1990s it was finally revealed this story was completely untrue. The original script had never included a shipwreck - it was simply too scrappy and poor to be used.  (plus) 


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Musical
Revival

3) West Side Story (Revival)

Joué durant  10 ans 3 mois 2 semaines

Nb de représentations: 119 représentations
Première preview: jeu. 01 octobre 1998
Première: sam. 01 octobre 1988
Dernière: sam. 16 janvier 1999

Compositeur: Leonard Bernstein •  
Parolier: Stephen Sondheim •  
Libettiste: Arthur Laurents •  
Metteur en scène: Alan Johnson •  
Chorégraphe: Alan Johnson •  
Avec: David Habbin (Tony), Katie Knight-Adams (Maria), Edward Baker-Duly (Riff), Edward Hayes-Neary (Diesel), Graham Macduff (Bernardo), Anna-Jane Casey (Anita) , Teddy Green, Alexander Delamere 


Commentaire: This touring production was as near as possible a complete re-creation of the original version from 40 years earlier - with some added significance in that Jerome Robbins had died a few months prior to its revival. Several critics felt the magnificent show had a whiff of mothballs about it, and needed a completely new approach (like the current “Oklahoma” at the National Theatre.) The “dream ballet” was especially felt to be very dated, and the finger-clicking routines seemed over-choreographed and lacking spontaneity for today’s audiences.) However, others felt it held up extremely well and everyone agreed it remained one of the most brilliant scores in musical theatre. It ran for fifteen weeks at the Prince Edward and then transferred to the Prince of Wales for another year, closing January 8th 2000.
Prince Edward Theatre: 6/10/1998 - 16/1/1999
Prince of Wales Theatre: 22/1/1999 - 8/1/2000  (plus) 


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Musical
Original

2) Chess (Original)

Joué durant  2 ans 11 mois

Nb de représentations: 1209 représentations
Première preview: lun. 05 mai 1986
Première: mer. 14 mai 1986
Dernière: sam. 08 avril 1989

Compositeur: Benny Andersson • Björn Ulvaeus •  
Parolier: Tim Rice •  
Libettiste: Richard Nelson •  
Metteur en scène: Trevor Nunn •  
Chorégraphe: Molly Molloy •  
Avec: Murray Head (Frederick Trumper), Elaine Paige (Florence Vassy), Tommy Korberg (Anatoly Sergievsky), John Turner (Alexander Molokov), Kevin Colson (Walter de Courcy), Tom Jobe (The Arbiter), Siobhan McCarthy (Svetlana Sergievsky), Grainne Renihan, Sally-Anne Triplett 


Commentaire: Once again this show had first seen light as a 1984 concept album LP.
Although the protagonists were not intended to represent any specific individuals, they were loosely based on chess grandmasters Bobby Fisher and Anatoly Karpov. The original director was Michael Bennett who had arranged for some very elaborate technical elements to be used, including creating a proscenium arch out of closed-circuit TV relays. He became seriously ill during rehearsals and was unable to continue, so the show was taken over by Trevor Nunn, who was forced to accept many of the scenic elements already created much against his will. Accordingly these screens were hardly used at all in the course of the show, to the confusion of the audience. Following its great success in London, the New York production opened in April 1988, with the book having undergone some re-writing and a few plot changes.
It was a flop, managing just over a month and some 68 performances. The London production ran three years.  (plus) 


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Musical
Original

1) Evita (Original)

Joué durant  8 ans 2 semaines

Nb de représentations: 2900 représentations
Première preview: Inconnu
Première: sam. 21 janvier 1978
Dernière: sam. 08 février 1986

Compositeur: Andrew Lloyd Webber •  
Parolier: Tim Rice •  
Libettiste: Tim Rice •  
Metteur en scène: Harold Prince •  
Chorégraphe: Larry Fuller •  
Avec: Elaine Paige (Eva Perón), David Essex (Ché), Joss Ackland (Juan Perón), Mark Ryan (Magaldi), Siobhán McCarthy (Perón's Mistress), Joshue Bancel, Derek Beard, Michele Breeze, Chris Brooke, Jo Cameron Brown, Jimmy Cassidy, Derek Damon, Jeni Evans, Colin Fay, Susannah Fellows, Stanley Fleet, Stewart Mackintosh, Robin Merrill, Nigel Planer, Claire Rimmer, Ken Robson, Myra Sands, Wendy Schoemann, Janet Shaw, David Taegar, Christina Thornton, Edwin Van Wyk, Peppi Borza, Christine Cartwright, Andrea Chance, Teresa Codling, Margaret Ede, Anthony Edge, Susan Hayes, Gerard Jouanneau, Julie Kirk, Connel Miles, Phillip Needs, David Shelmerdine, Nancy Wood, John Yost 


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