Londres - Angleterre
Topologie du théâtre
Nombre de salles actives: 1
Salle 1: (1156) 1881 - Actif
En métro: Charing Cross/Leicester Square/Covent Garden
En bus: 14, 19, 22, 24, 29, 38, 40, 176
Adresse: Savoy Court, Strand, London, WC2R 0ET
Bâtiment: 1881. Theatre designed by C. J. Phipps for Richard D'Oyly Carte / 1903. Extensive repair works, fireproofing and overhaul of heating and ventilation by architect A. Bloomfield Jackson / 1929. Theatre completely remodelled by Frank A. Tugwell, with Interior decoration by Basil lonldes. Easton and Robertson alter the Savoy Court entrance / 1990. Building extensively damaged by fire / 1993. Restoration completed by Whitfield Partners and theatre reopens / Statutorily Listed Historic Building: Grade II*
Ambassador Theatre Group
The planning of the theatre on its steeply sloping site / The superb mature Art Deco interior.
1881 - Actif
Alors que Funny Girl vient à peine de commencer sa série au Menier Chocolate Factory - où toutes les places ont été vendues en moins d'une heure trente! - le transfert du musical au Savoy est lui aussi un succès impliquant que la réservation est maintenant ouverte jusqu'au 10 septembre 2016.
Les tickets pour le premier revival à Londres du tube de 1964 "Funny Girl" avec Sheridan Smith dans le rôle de 'Fanny Brice' sont maintenant en vente pour les représentations au Savoy Theatre à partir du 9 Avril 2016.
La production, qui commencera ses previews au Menier Chocolate Factory le 20 novembre 2015, sold out pour toute la série dans le Southwark en 90 minutes!!!
Alors que les représentations n'ont pas encore commencé au Menier Chocolate Factory, il est annoncé que le spectacle sera transféré dans le West End. Il faut dire que le fait que Sheridan Smith joue le rôle principal est un événement. Les places des quatre mois de représentations au Menier ont été vendues en 1h30!
England was experiencing a protracted period of particularly warm but stormy weather when, in 1246, Henry III granted the land upon which the Savoy now stands - then the site of Simon de Montfort's palace - to Peter, Earl of Savoy and Richmond, for a rent of three barbed arrows to be delivered yearly to the Exchequer. Peter willed It in 1268 to the monastery of St Bernard Montjoux, Savoy, whose dependent house, the Hospital of Saints Nicholas and Barnard at Hornchurch, Essex, cared for the poor, aged and sick. Two years later the land was bought by Queen Eleanor of Castile, wife of King Edward I, who gifted it to her second son Edmund, Earl of Lancaster. By 1370 it had been completely rebuilt with unequalled magnificence by Edmund’s grandson Henry, Duke of Lancaster.
Sadly, this magnificence was not to last -1377 was the high point in the short-lived Peasants’ Revolt, and Wat Tyler's rebels duly destroyed the sumptuous palace. The site then languished in ruins until 1505, when It was rebuilt, upon the instruction of King Henry VII, as the Savoy Hospital, which provided nightly accommodation for 100 poor people. To the rear of the Hospital, the chapel of St John the Baptist (now known as the Queen’s Chapel of the Savoy) was built in 1510; the chapel survives within the serene setting of its grassy graveyard.
Following the closure of the hospital in 1702, the buildings began to deteriorate. Nevertheless, a protracted land-ownership dispute ensued between the Crown and the Duchy of Lancaster which eventually resulted in a land-share agreement In 1772. In 1816, the site was cleared to accommodate the new Waterloo Bridge approach road. The Savoy site was helped to prominence by the Victoria Embankment, which was begun In 1864. This enhanced the setting of all buildings along the Strand and Improved access along the riverfront.
In 1881, on the Savoy site, which was by now covered with small buildings grouped around Fountain Court and Beaufort Buildings, construction work started on the Savoy Theatre. The work was put In hand by Richard D’Oyly Carte, who since 1877 had been manager of the Opera Comique, adjacent to the Globe Theatre In Wych Street, now Aldwych. The Savoy was D'Oyly Carte’s first theatre; his success had begun when, in 1875, he produced Gilbert and Sullivan’s Trial By Jury at the Royalty Theatre. His fortunes with Gilbert and Sullivan continued when, in 1878, HMS Pinafore opened and then ran for 700 nights, followed by The Pirates of Penzance (1880) and Patience (1881), by which time Gilbert and Sullivan were D’Oyly Carte's partners and his profits were soaring.
On the back of these profits, D’Oyly Carte commissioned C. J. Phipps In 1881 to design his own Savoy Theatre. Phipps came up with an Italian Renaissance design, overcoming in his plans the problems posed by the steep site by positioning his main entrance on the angle between Carting Lane and Savoy Way. Always forward-looking, D’Oyly Carte was proud to unveil the theatre as the first public building in the world to be totally illuminated by electricity, which would enhance the white, yellow and gold décor. As a precaution against power failure, however, the gas pilot lights would be kept lit!
In 1884 D’Oyly Carte decided to build a hotel next to his theatre. This time he engaged architect T. E. Collcutt, who would later design his Palace Theatre - part of the expanding D'Oyly Carte empire - in 1891. The hotel was the beginning of what was to become an even larger complex, which grew in stages.
In 1903 Savoy Court - the short approach road to the theatre and the hotel from the Strand - was refronted to match the hotel, and a new theatre entrance and extensive alterations to the auditorium and foyer were put in hand. The west block was added in 1905 and the Embankment block in 1910. The Building News of 22 January 1904 refers to extensive alterations being demanded by London County Council to meet the ever more comprehensive building and fire regulations, and to a decorative scheme in Venetian red, old gold and peacock blue.
By 1929 the three-tier auditorium was considered old-fashioned, and architect Frank A. Tugwell was commissioned to rebuild the theatre practically from scratch. All that remained after the demolition works were Phipps’s Carting Lane entrance and the main side walls into which Tugwell designed his two-tier auditorium, with interior decoration by designer Basil lonldes. Levels within the building are governed by the sloping site: Savoy Court corresponds with the upper-circle level, and the scenery get-in from Carting Lane is at fly-floor level, an inconvenience that makes for some manoeuvring difficulties. At the same time as Tugwell was engaged on the auditorium, modernist architects Easton and Robertson, who were later to design the fine laboratory buildings adjacent to the Sadler’s Wells Theatre, were employed to modernize the Savoy Court elevation. They installed a range of glazed doors framed in stylized drapes, within a polished stainless-steel canopy supporting the theatre name in oversized steel sans-serif letters, set against the Doulton Carrara Ware (similar to faience) facing to the hotel. Beyond the doors lies the mirrored foyer with its silver-leafed rectangles, a pretty box office and a staircase that descends to the stalls and the dress circle. This is the visitor’s first glimpse of lonides’ inspired Art Deco moderne interior.
The two-tier auditorium, decorated like the foyer in silver-leafed rectangles, is a tribute to the creativity of Basil lonides and is one of the great examples of Art Deco interior design. The front half of the auditorium has two giant sounding boards either side of the plain proscenium, each designed to accommodate 43 decorated panels derived from a Chinese lacquer screen, but designed in a contrived perspective. Behind, the walls are heavily fluted, producing a remarkable display of graded light and shade, with tongued fluting extending along the balcony fronts. The ceiling above the stalls houses rectangular lighting panels, and above the upper circle a cloudy blue sky has been painted. Colour is used sparingly on the sunken ornamental soffit panels to the underside of the balconies, as an eye-catching contrast to the expanses of silver leaf.
Stand at the front of the stalls, look back into this auditorium and imagine the devastation left by a totally destructive fire in 1990. The ceiling was open to the sky and the decoration virtually destroyed. With a dedication far beyond the normal, the management, along with the architects Whitfield Partners, set about a restoration of breathtaking quality - comparable to the refurbishment of Castle Howard, Yorkshire, or Upark, Sussex, after equally extensive fire damage - and one which everyone who visits the theatre is able to appreciate. The building reopened in 1993.
Sadly, nothing remains of the original timber stage machinery. Instead, a state-of-the-art modular counterweighted stage has been installed and the grid has been lowered to accommodate the hotel’s swimming pool above.
Many of the Savoy's greatest stage moments were during the years 1910-18, when Henry Irving was actor-manager. Irving would appear regularly on stage, and prior to his death, James Montgomery’s farce Nothing But the Truth was to run for close on 600 performances. Following this, after Gilbert and Sullivan revivals In the early 1930s, The Man Who Came to Dinner ran for over 700 performances in 1942. The Secretary Bird ran for 1,500 performances ending in 1972, followed by the highly successful Noises Off (1,912 performances).
1881. Theatre designed by C. J. Phipps for Richard D'Oyly Carte / 1903. Extensive repair works, fireproofing and overhaul of heating and ventilation by architect A. Bloomfield Jackson / 1929. Theatre completely remodelled by Frank A. Tugwell, with Interior decoration by Basil lonldes. Easton and Robertson alter the Savoy Court entrance / 1990. Building extensively damaged by fire / 1993. Restoration completed by Whitfield Partners and theatre reopens / Statutorily Listed Historic Building: Grade II*
The Stalls at the Savoy feel a lot smaller than other venues of a similar size, mainly due to the fact that the block of seats is undivided. The seats are set firmly away from the entrances and go straight back rather than curve, meaning even seats on the end of each row enjoy a good view. Each row grows to a modest 30 seats across in the centre of the section, at a slight rake allowing much of the stage to be seen. The front of the stalls is often sold at a discounted price due to it being very close to the orchestra pit. The stage is set quite high, and so some neck straining does occur in the first three rows. The height of the stage also means smaller audience members may miss details such as the dogs or floor props, and so for the same price we would advise sitting a few rows back.
The overhang of the Dress Circle only creates a problem from row N and back, as the top of the proscenium is missed by those in the rear of the stalls. The rear stalls also has speakers which can affect sight lines, particularly for performances that use the top of the stage. Seats surrounding the sound desk at the back of the theatre should also be avoided as it can lead to various distractions. Best seats are usually midway back, as close to the centre as possible.
The Dress Circle is a unique shape split into three sections, two at the rear and one large section towards the front. Because of the shape a number of seats in this section are labelled restricted due to the safety rails that run across the balcony and stairwells. The front section offers the best value for money, but side seats in the first few rows have less leg room due to the curve of the balcony. This section is divided horizontally, so there is no centre aisle. Those wishing to find additional legroom should sit further back in the front section towards the end of each row.
The Upper Circle overhangs the back section of the Dress Circle after row F, blocking the top of the stage from those sitting towards the rear. A rail runs along the front of the Dress Circle, which is forewarned to those sitting in row A, although it is possible to see the action without too much discomfort. The back of the Dress Circle is divided by a larger safety rail which runs across row G; affecting sight lines in the subsequent two rows. To avoid this it is worth paying less to sit a couple of rows back, or booking similar priced tickets in the stalls.
The Upper Circle is divided into two equal sections by a horizontal aisle. The front section provides excellent value for money, and despite feeling far from the stage the view is exceptionally clear. The theatre warns against the front row due to a safety rail, but this is easily overcome and does not prove to be a significant distraction. Leg room in the first couple of rows is particularly tight, but further back it is more than adequate.
The rear section is more affected by safety rails, and should be considered last. There is a significant difference between the two sections, and due to the rake of the rear Upper Circle the stage feels very far away. Having said that, the view of the sets is excellent, but character detail and faces are often lost. It is often possible to move forward into empty seats, especially if you are visiting mid-week, so these seats are often excellent value for money.
The planning of the theatre on its steeply sloping site / The superb mature Art Deco interior.