Londres
Vaudeville Theatre
Londres - Angleterre
Construction: 1870
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Topologie du théâtre
Nombre de salles actives: 1
Salle 1: (690) 1870 - Actif
Accès
En métro: Charing Cross/Covent Garden/Embankment
En bus: 1, 4 , 6, 9, 11, 13 , 15, 68, 76, 171, 176, 188
Adresse: 404 Strand, London, WC2R 0NH
Evolution
Bâtiment: 1869-70. First theatre designed by C. J. Phipps for William Wybrow Robertson / 1890. Front-of-house additions, again by Phipps / 1925-6. Auditorium remodelled by architect Robert Atkinson for John Maria and Rocco Gatti / Statutorily Listed Historic Building: Grade II.
Nom:
Propriétaire(s)
Remarquable
The survival of pre-1925 work In the foyer, auditorium and backstage / The retention of stage machinery and artefacts from the first theatre.
690
1870 - Actif
In 1869-70 William Robertson, seeing a great deal more profit to be had in theatre building, built the Vaudeville on the site of his failed billiards club. It rose behind two houses, Nos 403 and 404 Strand, to the designs of C. J. Phipps, in a romanesque style. The Builder magazine of 23 April 1870 hailed the architect’s ‘elegant ensemble before the curtain' as ‘advantageously lofty', though suggesting with less enthusiasm that arrangements behind the curtain seem ‘calculated to lower the character of actors and actresses’.
In 1870 the theatre was leased by Robertson to Thomas Thorne and two others, David James and H. J. Montague. In 1882 Thorne became sole lessee and in 1889 he demolished Nos 403 and 404 Strand to expand his theatre on to the Strand frontage. To carry out this task he engaged C. J. Phipps, who duly provided a new foyer block behind a not unattractive Portland-stone classical fagade, four storeys high and five bays wide. Behind the new front he Introduced a deceptively large Adamesque foyer, which survives in the present theatre, articulated by pilasters and quite delicate cream and gold decoration, above a polished timber-panelled dado. The staircase giving access to the dress circle is mundane, almost domestic in character. Having carried out the work, Thorne sold the lease of the theatre in 1892 to restaurateurs Agostino and Stefano Gatti, who In 1878 had become lessees of the Adelphl Theatre, only a few doors along the Strand to the west. The buildings around the theatre are poor, doing little to enhance its architecture, but opposite is the grand Shell-Mex House, originally the Cecil Hotel of 1886, designed by Perry and Reed - who also rebuilt the Alhambra Theatre, Leicester Square, In 1883, on a site now occupied by the Odeon.
In 1905 John Maria and Rocco Gatti took over the theatre's management, and in 1925-6 undertook the remodelling of the auditorium, plus the provision of a new dressing-room block extending back to an Adamesque board room, lit by a fine fan-lunetted Venetian window giving on to Malden Lane. Robert Atkinson, a pioneer of the super-cinemas of the 1890s, was the architect, and, while retaining the coving and ceiling from the 1890s, he installed a rather stereotyped rectangular Adamesque auditorium, decorated In cream and gold on a blue- grey background.
Behind the proscenium arch the stage is worked from concrete fly floors, utilizing a combination of hemp and counterweighting. A rare early leather thunder drum, about six feet square by one foot deep, and a lightning sheet survive, while above the grid, which is approached by a Jacob's ladder, are two increasingly scarce drum and shaft mechanisms four feet and eight feet in diameter. In the small cellar under the stage two corner traps survive.
The Vaudeville opened on 16 April 1870 with a comedy, For Love or Money. Among notable productions since the reconstruction of 1925-6, Salad Days was a huge hit in the 1950s, as was Shirley Valentine in 1987.
1869-70. First theatre designed by C. J. Phipps for William Wybrow Robertson / 1890. Front-of-house additions, again by Phipps / 1925-6. Auditorium remodelled by architect Robert Atkinson for John Maria and Rocco Gatti / Statutorily Listed Historic Building: Grade II.
Infos complémentaires:
The Stalls section is particularly modest, containing the largest number of seats of the three sections. There is no central aisle or divide, instead all rows run from seats 1-18, apart from the front row which is shorter. Towards the rear of the stalls there are three shorter rows at N-P. The Dress Circle overhangs the section around row J, but does not begin to affect the sight lines until row N, where the top of the stage is cut off. For many productions this does not obstruct much of the action. All seats fall within proscenium, although those seats on the end of the early rows do feel a little outside of the action. Better seats are towards the more central section. The rake is strong throughout making views even in the rear stalls feel unobstructed. Many seats in this section are similarly priced, so for the best value for money, aim to sit between rows D and J for the best views. Premium seats are not worth the extra in this theatre, due to the size of the stage and auditorium. Legroom is adequate throughout although those wishing for more room may wish to sit at the ends of each row. The distance to the stage is not too much of a problem, even in row Q-S, although the overhang does feel quite low and can be a little off putting. Only buy these seats at reduced rates.
The Dress Circle can be quite tricky due to the pillars located at the edge of row F. The whole section is built straight onto the stage rather than curving around the balcony, making the view in most seats straight onto the stage. There is no safety bar or rail to obstruct the view, and the front of the section feels close to the action onstage. Some action towards the front of the stage may be missed depending on the production for those sitting in the first three rows. The section is well raked once again and doesn't feel particularly high. The overhang from the Upper Circle does affect views from row F back, although for the current production this does not affect any of the action. Better seats at the same price are available and should be chosen first. The pillars can obstruct the view for those sitting at the ends of rows F-K.
The Upper Circle provides great value for money, but can feel a little cramp and 'unglamorous'. In some instances the front of the stage is not visible, and this can result in some audience leaning forward to get a better view of the stage. The section is once again rectangular rather than rounded, meaning that views are all straight on. Avoid seats towards the end of each row however as these can sometimes be restricted by lighting or sound equipment. The section is very well raked throughout and the rear does feel quite high. Distance from the stage can be weighed up against no overhang at the rear of the lower levels, and in our opinion provide a better overall view of the show.
The survival of pre-1925 work In the foyer, auditorium and backstage / The retention of stage machinery and artefacts from the first theatre.
Musical
Reprise
1) Six (Reprise)
Joué durant actuellement
Première preview: mer. 29 septembre 2021
Première: mer. 29 septembre 2021
Dernière: Open end
Compositeur:
Parolier:
Libettiste: Lucy Moss • Toby Marlow •
Metteur en scène: Lucy Moss • Jamie Armitage •
Chorégraphe:
Avec: Rhianne-Louise McCaulsky (Catherine of Aragon), Baylie Carson (Anne Boleyn), Claudia Kariuki (Jane Seymour), Dionne Ward-Anderson (Anna of Cleves), Koko Basigara (Katherine Howard), Roxanne Couch (Catherine Parr), Monique Ashe-Palmer (alternate Aragon / Anna of Cleves), Danielle Rose (alternate Anne Boleyn / Catherine Howard), Leah Vassell (alternate Jane Seymour / Catherine Parr), Rachel Rawlinson (swing), Esme Rothero (swing / dance captain)
Commentaire:
Presse:
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Musical
Original
42) 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
Original
41) Magic Goes Wrong (Original)
Joué durant 4 mois 3 semaines
Première preview: 14 December 2019
Première: 08 January 2020
Dernière: 31 May 2020
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Divers •
Metteur en scène: Henry Lewis • Jonathan Sayer • Henry Shields •
Chorégraphe:
Avec: Bryony Corrigan (Spitzmaus), Roxy Faridany (Eugenia), Dave Hearn (The Blade), Henry Lewis (Mind Mangler), Henry Shields (Sophisticato), Jonathan Sayer (Mickey), Nancy Zamit (Bear), Natasha Culley, Laurence Pears, Sydney K Smith, Liv Spencer.
Commentaire: The second production to be performed as part of the Mischief Theatre’s year-long residency at the Vaudeville Theatre.
The creators of The Play That Goes Wrong and The Comedy About A Bank Robbery have collaborated with Penn and Teller, whose successful double act has seen rise to become one of the world’s biggest magic acts selling out venues in London and the US. It is the next ‘Goes Wrong’ comedy in the West End after Peter Pan Goes Wrong and The Play That Goes Wrong.
Magic Goes Wrong will see the original company return to star in the show, which has been written by Penn Jillette, Henry Lewis, Jonathan Sayer, Henry Shields and Teller, and it will be directed by Adam Meggido. Penn and Teller will not be appearing on stage. (plus)
Presse:
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Théâtre
Original
40) Groan Ups (Original)
Joué durant 1 mois 3 semaines
Première preview: 20 September 2019
Première: 10 October 2019
Dernière: 01 December 2019
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Divers •
Metteur en scène: Kirsty Patrick Ward •
Chorégraphe:
Avec: Bryony Corrigan, Dave Hearn, Henry Lewis, Charlie Russell, Jonathan Sayer, Henry Shields, Nancy Zamit, George Haynes, Krystal Dockery, Holly Sumpton
Commentaire: Playing an unruly classroom of kids and anarchic high school teenagers, through to the aches and pains of adulthood, the original Mischief company are back in the West End with their first new play since 2016 (when their play The Comedy About A Bank Robbery opened at the Criterion Theatre), the first show in the Mischief Theatre’s year-long residency at the Vaudeville Theatre. (plus)
Presse:
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Théâtre
39) Worst Witch (The) ()
Joué durant 1 mois 1 semaine
Première preview: 24 July 2019
Première: 28 July 2019
Dernière: 08 September 2019
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Divers •
Metteur en scène: Theresa Heskins •
Chorégraphe: Beverley Norris-Edmunds •
Avec:
Rosie Abraham, Danielle Bird, Molly-Grace Cutler, Meg Forgan, Rachel Heaton, Rebecca Killick, Emma Lau, Megan Leigh Mason, Polly Lister, Lauryn Redding, Consuela Rolle
Commentaire:
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Théâtre
Revival
38) Three Sisters (Revival)
Joué durant 1 semaine
Première preview: 19 June 2019
Première: 20 June 2019
Dernière: 29 June 2019
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Divers •
Metteur en scène: Lev Dodin •
Chorégraphe:
Avec: Alexander Bikovsky, Ekaterina Kleopina, Nadezhda Nekrasova, Irina Tychinina, Ksenia Rappoport, Elizaveta Boyarskaya, Ekaterina Tarasova, Sergey Vlasov, Igor Chernevich, Oleg Ryazanzev, Stanislav Nikolskiy, Sergey Kuryshev, Artur Kozin, Nikita Sidorov, Alexander Koshkarev, Natalia Sokolova, Natalia Akimova, Arina Sumkina and Sergey Ivanov.
Commentaire: Critically acclaimed the world over, and winner of a Drama Desk Award, The Sovremennik’s Three Sisters is widely regarded as one of the seminal versions of Anton Chekhov’s classic tale, enthralling audiences from Paris to New York, Berlin to London.
Show performed in Russian with English subtitles. (plus)
Presse:
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Théâtre
West End Transfer
37) Emilia (West End Transfer)
Joué durant 2 mois 1 semaine
Première preview: 08 March 2019
Première: 21 March 2019
Dernière: 01 June 2019
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Divers •
Metteur en scène: Nicole Charles •
Chorégraphe: Anna Morrissey •
Avec: Nadia Albina, Anna Andresen, Jackie Clune, Adelle Leonce, Jenni Maitland, Carolyn Pickles, Sarah Seggari, Sophie Stone, Charity Wakefield, Amanda Wilkin and Tanika Yearwood.
Commentaire: Transfert du Globe (plus)
Presse:
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Théâtre
Revival
36) True West True West (Revival)
Joué durant 2 mois 3 semaines
Première preview: 23 November 2018
Première: 04 December 2018
Dernière: 23 February 2019
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Divers •
Metteur en scène: Matthew Dunster •
Chorégraphe:
Avec: Kit Harington (Austin), Johnny Flynn (Lee), Madeleine Potter (Mom), Donald Sage Mackay (Saul Kimmer).
Commentaire:
Presse:
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Théâtre
Revival
35) Importance of Being Earnest (The) (Revival)
Joué durant 2 mois 2 semaines
Première preview: 20 July 2018
Première: 02 August 2018
Dernière: 20 October 2018
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Divers •
Metteur en scène:
Chorégraphe:
Avec:
Commentaire:
Presse:
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Théâtre
Revival
34) An Ideal Husband (Revival)
Joué durant 2 mois 1 semaine
Première preview: 20 April 2018
Première: 03 May 2018
Dernière: 14 July 2018
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Divers •
Metteur en scène: Jonathan Church •
Chorégraphe:
Avec: Edward Fox (Earl of Caversham), Freddie Fox (Lord Goring), Frances Barber (Mrs Cheveley), Nathaniel Parker (Sir Robert Chilton), Sally Bretton (Lady Chiltern).
Commentaire:
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Opéra
Original
33) Selfish Giant (The) (Original)
Joué durant
Première preview: 10 April 2018
Première: 10 April 2018
Dernière: 14 April 2018
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Divers •
Metteur en scène: Bill Buckhurst •
Chorégraphe:
Avec: Jeff Nicholson (The Giant), Scott Sutcliffe, Jacob Fisher, Olly Dobson, Laila Zaidi, Rose Shalloo, Izuka Hoyle, Natasha Cottriall (narrator), Laura Sillett (narrator).
Commentaire: The Selfish Giant is a new folk opera adapted from Oscar Wilde’s classic children’s story by multi-award winning composer, producer and song-writer Guy Chambers (famed writer for Robbie Williams, including No. 1 hit-songs Angels, Feel and Let Me Entertain You).
Part of the Oscar Wilde Season (plus)
Presse:
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Théâtre
Revival
32) Lady Windermere's Fan (Revival)
Joué durant 2 mois 2 semaines
Première preview: 12 January 2018
Première: 22 January 2018
Dernière: 07 April 2018
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Divers •
Metteur en scène: Kathy Burke •
Chorégraphe:
Avec:
Commentaire:
Presse:
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Théâtre
Revival
31) De Profundis (Revival)
Joué durant
Première preview: 03 January 2018
Première: 03 January 2018
Dernière: 06 January 2018
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Divers •
Metteur en scène: Mark Rosenblatt •
Chorégraphe:
Avec: Simon Callow
Commentaire:
Presse:
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Théâtre
Revival
30) A Woman of No Importance (Revival)
Joué durant 2 mois 2 semaines
Première preview: 06 October 2017
Première: 16 October 2017
Dernière: 30 December 2017
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Divers •
Metteur en scène: Dominic Dromgoole •
Chorégraphe:
Avec: Eve Best, Eleanor Bron (Lady Caroline Pontefract), William Gaunt (The Venerable Archdeacon Daubeny DD)
Commentaire:
Presse:
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Théâtre
West End Transfer
29) Mentor (The) (West End Transfer)
Joué durant 1 mois 3 semaines
Première preview: 24 June 2017
Première: 04 July 2017
Dernière: 26 August 2017
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Divers •
Metteur en scène: Laurence Boswell •
Chorégraphe:
Avec: F. Murray Abraham, Daniel Weyman, Naomi Frederick, Jonathan Cullen
Commentaire:
Presse:
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Musical
Revival
28) Stepping out - the musical (Revival)
Joué durant 3 mois
Première preview: 01 March 2017
Première: 14 March 2017
Dernière: 17 June 2017
Compositeur: Denis King •
Parolier: Mary Stewart-Davis •
Libettiste: Richard Harris •
Metteur en scène: Maria Friedman •
Chorégraphe:
Avec: Amanda Holden (Vera), Angela Griffin (Sylvia), Tracy-Ann Oberman (Maxine), Tamzin Outhwaite (Mavis), Nicola Stephenson (Dorothy)
Commentaire: A new production of Stepping Out directed by Maria Friedman opens at the Vaudeville Theatre in March 2017 in London's West End, following a run at the Theatre Royal Bath, the Richmond Theatre and the Cambridge Arts Theatre. Amanda Holden stars in the production alongside Angela Griffin, Tracy-Ann Oberman and Tamzin Outhwaite. (plus)
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Théâtre
Revival
27) Boys in the Band (The) (Revival)
Joué durant 1 semaine
Première preview: 07 February 2017
Première: 07 February 2017
Dernière: 18 February 2017
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Divers •
Metteur en scène: Adam Penford •
Chorégraphe:
Avec: Mark Gatiss, Ian Hallard
Commentaire: The Boys in the Band premiered in 1968 just before the Stonewall riots. It was adapted into a film in 1970 and was last revived in New York in 2010. This UK revival will mark almost 20 years since the last West End production. (plus)
Presse:
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Théâtre
Revival
26) Dead Funny (Revival)
Joué durant 3 mois
Première preview: 27 October 2016
Première: 03 November 2016
Dernière: 04 February 2017
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Divers •
Metteur en scène: Terry Johnson •
Chorégraphe:
Avec: Katherine Parkinson, Steve Pemberton, Ralf Little, Emily Berrington and Rufus Jones.
Commentaire:
Presse:
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Théâtre
Reprise
25) Dawn French: 30 million minutes (Reprise)
Joué durant
Nb de représentations: 6 représentations
Première preview: 18 October 2016
Première: 18 October 2016
Dernière: 22 October 2016
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Divers •
Metteur en scène: Michael Grandage •
Chorégraphe:
Avec: Dawn French
Commentaire: Dawn French, the Queen of British comedy, is bringing her hugely popular, critically acclaimed show 30 Million Minutes back to London's West End for the final time at the Vaudeville Theatre from 18th October. This really is the last chance to see the award-winning actor, best-selling novelist and all round very funny lady in her one woman show as it returns for one week only.
On bringing back 30 Million Minutes for the final time, Dawn said: "Dredging my lucky pants out of the bottom drawer - I'm very excited about being back in the West End at the Vaudeville Theatre for a final six performances in October." (plus)
Presse:
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Théâtre
Revival
24) My Family: Not the Sitcom (Revival)
Joué durant 1 semaine
Première preview: 05 October 2016
Première: 05 October 2016
Dernière: 15 October 2016
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Divers •
Metteur en scène:
Chorégraphe:
Avec: David Baddiel
Commentaire: Following a critically acclaimed, complete sell-out run at the Menier Chocolate Factory, My Family: Not The Sitcom comes to the Vaudeville Theatre for a strictly limited 5 week run. (plus)
Presse:
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Théâtre
Revival
23) Hobson's Choice (Revival)
Joué durant 3 mois
Première preview: 08 June 2016
Première: 08 June 2016
Dernière: 10 September 2016
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Divers •
Metteur en scène: Jonathan Church •
Chorégraphe:
Avec: Martin Shaw, Naomi Frederick, Bryan Dick Gabrielle Dempsey and Joanna McCallum
Commentaire: Martin Shaw is one of the UK’s favourite actors, well-known for starring in Inspector George Gently, Judge John Deed, and The Professionals on television. His stage roles include Saturday, Sunday, Monday opposite Laurence Olivier; he was Tony Award nominated for An Ideal Husband on Broadway and won a Drama Desk award. Recent West End credits include A Man for All Seasons and Twelve Angry Men. (plus)
Presse: "Brighouse’s play may be creaking, but Church proves it’s good for a few more outings yet." Clare Allfree for Daily Telegraph
"As the bibulous bully of the title, Martin Shaw is virtuosic and palpably practised; it looks as if he’s acting." Dominic Maxwell for The Times
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Théâtre
Original London
22) Hand to God (Original London)
Joué durant 4 mois
Première preview: 05 February 2016
Première: 05 February 2016
Dernière: 11 June 2016
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Divers •
Metteur en scène: Moritz von Stuelpnagel •
Chorégraphe:
Avec: Harry Melling, Janie Dee, Neil Pearson, Jemima Rooper, Kevin Mains
Commentaire:
Presse:
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Théâtre
Revival
21) Dawn French: 30 million minutes (Revival)
Joué durant 3 semaines
Première preview: 11 November 2015
Première: 12 November 2015
Dernière: 09 December 2015
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Divers •
Metteur en scène: Michael Grandage •
Chorégraphe:
Avec: Dawn French
Commentaire:
Presse:
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Théâtre
Revival
20) Importance of Being Earnest (The) (Revival)
Joué durant 4 mois 1 semaine
Première preview: 24 June 2015
Première: 01 July 2015
Dernière: 07 November 2015
Compositeur:
Parolier:
Libettiste: Oscar Wilde •
Metteur en scène: Adrian Noble •
Chorégraphe:
Avec: David Suchet (Lady Bracknell), Emily Barber (Gwendolen Fairfax), Michael Benz (Jack Worthing), Philip Cumbus (Algernon Moncrieff), Imogen Doel (Cecily Cardew), Michele Dotrice (Miss Prism), Richard O'Callaghan (Chasuble)
Commentaire:
Presse: "Watching Suchet in action, I was put in mind of some magnificent figurehead on an ancient sailing-ship that seems to be strangely listing. The dramatic vessel itself, tightly structured and sealed with aphoristic wit, is pretty much unsinkable." Dominic Cavendish for The Telegraph
"Michelle Dotrice is bliss as Miss Prism giddily wobbling girlish infatuation for Richard O'Callaghan's Canon Chasuble. Warmly recommended." Paul Taylor for The Independent
"Even if occasionally the mood seems closer to Charley’s Aunt than Oscar Wilde, this is a thoroughly enjoyable production and, at its centre, lies a superb performance by Suchet that reminds us that even Lady Bracknell contains a certain impishness beneath her elegantly frocked hauteur." Michael Billington for The Guardian
"Many will wish to see the show chiefly for the sight of Mr Suchet in bustle and bosom and he does not disappoint." Quentin Letts for The Daily Mail
"I suspect that I personally never need see this play again. But Suchet fans won’t be disappointed." Fiona Mountford for The Evening Standard
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Théâtre
Revival
19) Duck House (The) (Revival)
Joué durant 3 mois 2 semaines
Première preview: 27 November 2013
Première: 10 December 2013
Dernière: 29 March 2014
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Divers •
Metteur en scène: Terry Johnson •
Chorégraphe:
Avec: Ben Miller (Robert Houston), Nancy Carroll (Felicity), Debbie Chazen (Ludmilla), James Musgrave (Seb), Simon Shepherd (Sir Norman Cavendish), Diana Vickers (Holly)
Commentaire:
Presse:
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Théâtre
Revival
18) Ladykillers (The) (Revival)
Joué durant 4 mois 1 semaine
Première preview: 29 June 2013
Première: 09 July 2013
Dernière: 16 November 2013
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Divers •
Metteur en scène: Sean Foley •
Chorégraphe:
Avec: Ralf Little (Harry), Simon Day (Major Courtney), Angela Thorne (Mrs Wilberforce), John Gordon Sinclair (Professor Marcus), Con O’Neill (Louis), Chris McCalphy (One Round)
Commentaire:
Presse: "The great thing about the film is that it is at times genuinely chilling as well as hilarious, and the one loss in Sean Foley’s hugely enjoyable stage production, which has just begun a second run in the West End following a national tour, is that it never quite matches the creepiness of the original. I would venture to suggest, however, that it is even funnier than the movie."
Charles Spencer for The Daily Telegraph
"It's all perfectly amiable, but the production needs more spit and polish if it is to recapture its original zest."
Michael Billington for The Guardian
"To see the show a second time is to marvel anew at the inspired way Linehan takes the ingenious premise of William Rose's original screenplay and converts it into an opportunity for uproarious slapstick stage farce, fizzing with entirely fresh gags."
Paul Taylor for The Independent
"Entertained for a couple of hours."
Fiona Mountford for The Evening Standard
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Théâtre
Revival
17) Great Expectations (Revival)
Joué durant 1 mois 3 semaines
Première preview: 01 February 2013
Première: 06 February 2013
Dernière: 30 March 2013
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Divers •
Metteur en scène: Graham McLaren •
Chorégraphe:
Avec: Paula Wilcox (Miss Havisham), Jack Ellis (Jaggers), Chris Ellison (Magwitch), Paul Nivison (Adult Pip), Grace Rowe (Estella) Taylor Jay-Davies (Young Pip)
Commentaire: Charles Dickens' classic coming-of-age novel takes to the stage in this riveting West End revival. Turning the 600-page classic into a two-hour play is no mean feat and playwright Jo Clifford achieves the task with aplomb by transplanting the far-reaching action into a single room; the play is set in Miss Havisham 's cobwebbed dining room while a grown-up Pip looks back to his youth.
Memories are made flesh as the ghosts of Pip's past play out important moments in his life - there is certainly a Tim Burton-esque feel to the play, reflected in the white faces, black lipstick and gothic dress of the story's crooked Dickensian characters as they are conjured up by Pip to converse in colourful cockney accents. (plus)
Presse: "A striking piece of theatre...It’s an inventive production, but one that sells Dickens's great novel dismayingly short. " Charles Spencer for The Daily Telegraph
"This is a plodding show." Henry Hitchings for The Evening Standard
"Bold but crudely executed new vision of the material. " Paul Taylor for The Independent
"There’s no denying the inventiveness of the piece but while the production has the power to draw you in to Dickens’s always gripping plot it’s a little like overdosing on melodrama." Julie Carpenter for The Daily Express
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Pantomime
Revival
16) Potted Panto (Revival)
Joué durant 3 semaines
Première preview: 10 December 2010
Première: 14 December 2010
Dernière: 09 January 2011
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Divers •
Metteur en scène: Richard Hurst •
Chorégraphe:
Avec: Daniel Clarkson, Jefferson Turner
Commentaire:
Presse:
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Revival
15) An ideal Husband (Revival)
Joué durant 3 mois 2 semaines
Première preview: 04 November 2010
Première: 10 November 2010
Dernière: 26 February 2011
Compositeur:
Parolier:
Libettiste: Oscar Wilde •
Metteur en scène: Lindsay Posner •
Chorégraphe:
Avec: Alex Hanson (Sir Robert Chiltern), Rachael Stirling (Mrs Chiltern), Samantha Bond (Mrs Cheveley), Elliot Cowan (Lord Goring), Charles Kay , Fiona Button, Caroline Blakiston
Commentaire:
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Revival
14) Private lives (Revival)
Joué durant 2 mois
Première preview: 24 February 2010
Première: 24 February 2010
Dernière: 01 May 2010
Compositeur:
Parolier:
Libettiste: Noël Coward •
Metteur en scène: Richard Eyre •
Chorégraphe:
Avec: Kim Cattrall (Amanda), Matthew MacFadyen (Elyot), Lisa Dillon, Simon Paisley Day
Commentaire:
Presse:
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Revival
13) Piaf (Revival)
Joué durant 3 mois
Première preview: 16 October 2008
Première: 21 October 2008
Dernière: 24 January 2009
Compositeur:
Parolier: Pam Gems •
Libettiste: Pam Gems •
Metteur en scène: Jamie Lloyd •
Chorégraphe:
Avec:
Commentaire:
Presse: JOHANN HARI for THE EVENING STANDARD says, " Elena Roger...has folded herself into Edith Piaf so perfectly." PAUL TAYLOR for THE INDEPENDENT says, "Roger sings as though her lungs depend on it. Her delivery is huge and gutsy but it does not sound from the gut. Watching her in Jamie Lloyd's punchy, proscenium-arched production, I kept thinking of computer-generated images and how they annihilate any sense of real odds being overcome." MICHAEL BILLINGTON for THE GUARDIAN says, "[Elena Roger]It is a tremendous performance , buttressed by Jamie Lloyd's production which punctuates Gems's snapshot scenes with the exaggerated click of a camera shutter...if there was an instant standing ovation, it was for Roger's triumphant performance rather than the play." BENEDICT NIGHTINGALE for THE TIMES says, "Pam Gems’s 100-minute salute to the embattled life and feisty yet poignant art of Edith Piaf is sketchy, even scrappy, but then a neat, smooth play would hardly suit its defiantly unneat and unsmooth heroine. In any case, such objections dwindle to cavils, given the quality that the Argentine actress Elena Roger brings to the role of the little sparrow with the big vibrato." CHARLES SPENCER for THE DAILY TELEGRAPH says, "What's missing is any sense that this is a performance dragged from the actress's guts. Roger shares Piaf's diminutive stature, and she is by turns imperious, petulant, fiery and vulnerable, but I never felt as though I was being vouchsafed a glimpse into the singer's soul...Jamie Lloyd directs an efficient but curiously soulless production."
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Original London
Musical
Reprise
11) Pageant (Reprise)
Joué durant 2 mois
Première preview: 26 July 2000
Première: 01 August 2000
Dernière: 30 September 2000
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Divers •
Metteur en scène: Bill Russel •
Chorégraphe: Warren Carlyle •
Avec: Lionel Blair (Frankie Cavalier), Graham MacDuff (Miss Texas), Dale Mercer (Miss Deep South), Michael Xavier (Miss Great Plains), Eaton James (Miss Bible Belt), Leon Maurice-Jones (Miss Industrial North East), Miles Western (Miss West Coast)
Commentaire: With perma-tanned Lionel Blair standing in at the last moment as the compère, this was a gloriously camp send-up of the “brain-dead bimbos who pout and wiggle their way through beauty contests”. It originated off-Broadway. Following some excellent notices, the production transferred to the Vaudeville Theatre, where it survived a further eight week run. (plus)
Presse: MICHAEL BILLINGTON for THE GUARDIAN says there is too much camp on the West End at the moment and he cannot take much more, but does go on to say, "Undeniably Pageant has some very funny moments."
NICHOLAS DE JONGH for THE EVENING STANDARD says, "What a Miss Drag." He goes on to say, "It's all a question of bad taste. But this bizarre little musical....does not strike me as making enough inventive fun of gender-bending."
MARK COOK for THE INDEPENDENT says, "It could do with a touch more bitchiness and less star-spangled sincerity, and while Lionel Blair's compere is obviously light on his feet, a more sleazy, oleaginous portrayal might have provided more of a contrast to all the campery. But how can you resist a show that, in a space-age number, raises one of life's great imponderables: what should I wear to a brand new planet, should it be flats or high heels?"
BENEDICT NIGHTINGALE for THE TIMES calls the show "A bit of a camp squib". He goes on to say, "I laughed; but... not a lot."
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Musical
West End Transfer
10) Kat and the Kings (West End Transfer)
Joué durant 4 mois 1 semaine
Nb de représentations: 152 représentations
Première preview: 16 March 1998
Première: 23 March 1998
Dernière: 01 August 1998
Compositeur: David Kramer • Taliep Petersen •
Parolier: David Kramer • Taliep Petersen •
Libettiste: David Kramer •
Metteur en scène: David Kramer •
Chorégraphe: Loukmaan Adams • Jody Abrahams •
Avec: Salie Daniels {Kat Diamond), Jody Abrahams {Young Kat Diamond), Loukmaan Adams (Bingo), Junaid Booysen (Bailie), Mandisa Bardili (Lucy Dixon), Alistair Izobell (Magoo)
Commentaire: With some amazing singing and tap-dancing, this was a South African import which delighted everyone with its exuberance. It was repeated with the some cast changes for a further two week run in February of the following year, and then transferred to the Vaudeville where it ran till the end of July. (plus)
Presse: NICHOLAS DE JONGH of THE EVENING STANDARD says, "It's the infectious beat and the dance that captivates".
PETER HEPPLE of THE STAGE says the show is "Unpretentious and good-humoured".
THE SUNDAY TIMES says "You won't see better singer-dancers anywhere in the West End."
BILL HAGERTY of THE NEWS OF THE WORLD says, "It's a joyous show full of vitality".
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Revival
9) Salad Days (Revival)
Joué durant 4 mois 1 semaine
Nb de représentations: 148 représentations
Première preview: 17 April 1996
Première: 18 April 1996
Dernière: 24 August 1996
Compositeur: Julian Slade •
Parolier: Dorothy Reynolds • Julian Slade •
Libettiste: Dorothy Reynolds • Julian Slade •
Metteur en scène: Ned Sherrin •
Chorégraphe: Lindsay Dolan •
Avec: David Morton (Tramp), Nicola Fulljames (Jane), Simon Connolly (Timothy), Richard Sisson (Troppo), Elizabeth Counsell, Gay Soper, Kit Hesketh-Harvey, Sarah Mortimer
Commentaire: This production originated at the Yvonne Arnaud Theatre, Guildford and was mounted to mark the 40th anniversary of the show - although it was actually 42 years since its London premiere. It ran just under five months. (plus)
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Original
8) Eurovision (Original)
Joué durant 2 semaines
Nb de représentations: 22 représentations
Première preview: 02 November 1993
Première: 10 November 1993
Dernière: 27 November 1993
Compositeur: Tim Luscombe •
Parolier: Tim Luscombe •
Libettiste: Tim Luscombe •
Metteur en scène: Tim Luscombe •
Chorégraphe: Richard Sampson •
Avec: James Dreyfus (Gary), Charles Edwards (Kevin) , Christopher James (Antinous), Simon Dutton (Hadrian), Anita Dobson (Katia Europa), Grant Russell (Sergio), Michael Matus (Andreas), Carmen Gomez, Darren McNeill, Duncan Wisbey, Thierry Harcourt
Commentaire: This extremely silly (and for many, enjoyable!) spoof of the Eurovision Song Contest had the merit of some funny parody songs sending up the whole Eurovision style, but with its peculiar story mixing togas and flared trousers, and the fact that the Eurovision Contest is already a parody of itself, the almost unanimous critical verdict was “nul point”, or at best, “un et demi”. (The show had originated in the fringe Drill Hall in the previous year). It came off within three weeks, having lost some £275,000. It was described by Jack Tinker in the “Daily Mail” as violating every clause of the Geneva Convention.. (plus)
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Original
7) A Swell Party (Original)
Joué durant 5 mois 3 semaines
Première preview: Inconnu
Première: 03 October 1991
Dernière: 28 March 1992
Compositeur: Cole Porter •
Parolier: Cole Porter •
Libettiste: John Kane •
Metteur en scène: David Gilmore •
Chorégraphe: David Toguri •
Avec: Nickolas Grace, Maria Friedman, Angela Richards, David Keman, Martin Smith
Commentaire: A review of Cole Porter’s life and songs to mark the centenary of his birth. It achieved a six month run. (plus)
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6) 70, Girls, 70 ()
Joué durant 3 mois
Nb de représentations: 112 représentations
Première preview: Inconnu
Première: 17 June 1991
Dernière: 21 September 1991
Compositeur: John Kander •
Parolier: Fred Ebb •
Libettiste: Fred Ebb • Norman L. Martin •
Metteur en scène: Paul Kerryson •
Chorégraphe:
Avec: Dora Bryan (Ida Dodds), Brian Greene (Walter), Shezwae Powell (Melba), Buster Skeggs (Fritzi), Joan Savage (Gert), Stephanie Voss (Ethel/Sadie), Len Howe (Harry), Jo Stewart (Lorraine), James Gavin (Eddie), Pip Hinton (Eunice), Bill Bradley, Peter Edbrook,
Commentaire: Based on the play “Breath of Spring” by Peter Coke, the original Broadway production was a five-week flop in 1971, though many felt a rather good show had suffered by opening the same time as “Follies” – another show about old theatricals. This British version originated in Chichester in 1990 and was updated, produced very much as a tongue-incheek send-up of other West End Musicals and centred round a totally over-the-top performance from veteran hoofer, Dora Bryan. It received very mixed reviews, but they all loved Len Howe & Dora Bryan Dora. It managed a three month run. (plus)
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Revival
5) Joseph and the Amazing Technicolor Dreamcoat (Revival)
Joué durant 2 mois 3 semaines
Première preview: Inconnu
Première: 15 December 1980
Dernière: 07 March 1981
Compositeur: Andrew Lloyd Webber •
Parolier: Tim Rice •
Libettiste:
Metteur en scène: Bill Kenwright •
Chorégraphe: Henry Metcalf •
Avec: Jess Conrad (Joseph), Peter Lawrence (Jacob/Potiphar), John Melvin (Benjamin), Mandy Demetriou (Potiphar’s Wife), Dave Mayberry (Pharaoh), Leo Andrew (Narrator), Roy Miles, Hugh Janes
Commentaire:
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Original
4) Salad Days (Original)
Joué durant
Nb de représentations: 2283 représentations
Première preview: 05 August 1954
Première: 05 August 1954
Dernière: Inconnu
Compositeur: Julian Slade •
Parolier: Dorothy Reynolds • Julian Slade •
Libettiste: Dorothy Reynolds • Julian Slade •
Metteur en scène: Denis Carey •
Chorégraphe: Elizabeth West •
Avec: Eleanor Drew (Jane), John Warner (Timothy), Newton Blick (Tramp), James Caimcross, Michael Aldridge, Dorothy Reynolds
Commentaire:
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Original
3) Co-Optimists (The) of 1929 (Original)
Joué durant 3 mois 3 semaines
Nb de représentations: 135 représentations
Première preview: 08 July 1929
Première: 08 July 1929
Dernière: 02 November 1929
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Revue •
Metteur en scène:
Chorégraphe:
Avec: Stanley Holloway, Melville Gideon, Davy Burnaby, Sydney Howard, Charles Collins, Harry Pepper. Elsa Macfarlane, Phyllis Monkman, Betty Chester, Peggy Petronella.
Commentaire:
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Original
2) Jumble Sale (Original)
Joué durant 4 mois 3 semaines
Nb de représentations: 177 représentations
Première preview: 16 December 1920
Première: 16 December 1920
Dernière: 07 May 1921
Compositeur: Philip Braham •
Parolier: Reginald Arkell •
Libettiste: John Hastings Turner •
Metteur en scène:
Chorégraphe:
Avec: Bob Cory, Eric Stanley, Walter Williams, Gilbert Childs, Eric Blore, Ellis Carlyle. Nora Creina, Joyce Barbour, Binnie Hale, Phyllis Titmuss, Molly Vere, Freda Parker, Ethel Stuart, Velma Deane, Peggy Heather, Madeleine Tanner, Doris Llewellyn, Marjorie Spiers, Jill Williams, Doris O’Gorman, Nora Verdune.
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