Londres
Victoria Palace Theatre
Londres - Angleterre
Construction: 1911
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Topologie du théâtre
Nombre de salles actives: 1
Salle 1: (1575) 1911 - Actif
Accès
En métro: London Victoria
En bus: 8, 11, 16, 24, 36, 38, 73, 82, 211, 507, 511
Adresse: Victoria Street, London SW1E 5EA
Evolution
Bâtiment: Early 1830s. The Royal Standard Hotel is built in Stockdale Terrace on a site now occupied by Victoria railway station / 1886. The Royal Standard rebuilt / 1911. Frank Matcham builds the Victoria Palace on the Royal Standard site for Alfred Butt / Statutorily Listed Historic Building: Grade II.
Nom: 1832 Moy's Music Hall / 1863 Royal Standard Music Hall
Propriétaire(s)
Remarquable
The splendid white eye-catching exterior design, carried through to i superb baroque auditorium
1575
1911 - Actif
Victoria Street, completed in the mid-1880s, is a major east-west artery north of the River Thames, linking Victoria Railway Station at Its western extremity with the Palace of Westminster and Westminster Bridge to the east. Immediately prior to its construction, the Stag brewery and surrounding areas of slum dwellings stood In sharp contrast with the elegance of Victoria Square and Buckingham Palace, and the forbidding grandeur of the Middlesex House of Correction for Women, all close by. As the new road was put through, slum tenants were rehoused and their hovels demolished, to be rebuilt in a manner rather more acceptable to the residents of Eaton Square and its environs less than half a mile away, bordering on Chelsea.
Prior to the final expansion of Victoria Railway Station in 1905-8, part of its present site was occupied by Stockdale Terrace and the Royal Standard Hotel, built in the early 1830s and licensed for singing and dancing. Owned by John Moy, it was known as Moy's Music Hall before being officially renamed the Royal Standard Concert Rooms. Following major rehabilitation work in 1863, it became the Royal Standard Music Hall, with a two-tier auditorium and an audience capacity approaching 2,500.
In 1886 Richard Wake, its proprietor, rebuilt the Standard on the Victoria Palace site as an enterprise designed to be inviting to the public, combining a high level of audience comfort with restaurant and drinking facilities. By 1910, emphasis in the London theatre was switching markedly towards musical and family-oriented entertainment, a state of affairs not lost on entrepreneur Alfred Butt, who bought the Standard to rebuild it as a variety theatre.
A man of discernment, Butt commissioned architect Frank Matcham to design what turned out to be one of London's theatrical gems - although its immediate setting has been compromised to some degree by a proliferation of street furniture and an astonishing planning faux pas In the early 1960s that allowed the erection of the gargantuan 334-foot- high Portland House as a totally alien backdrop. With its white glazed faience façade, Matcham’s symmetrical baroque building was without doubt designed as an eye-catcher for all who left the railway station. A great central mosaic-lined niche rising through three of the four main storeys emphasizes the entrance, while draped female figures flank a central Ionic crowning cupola, topped (until the Blitz) by a sculpture of a pirouetting Pavlova. Removed as a safety precaution during the air raids, the figure is said to have been ‘mislaid’ - but In 2006 a replica was made and reinstated to Its original position.
A modern canopy shelters two pairs of double doors enriched with flowing glazing bars and bevelled glass, while to the west of the building a single-storey, three-bay wing has now been successfully absorbed into the main theatre foyer to provide additional waiting and ticketing space. Grey marble wall linings wrth mosaic banding give an air of opulence, without ostentation, to the restrained white and gold Adamesque foyer. At the head of the main staircase rising out of the foyer are fine bronze busts of the Crazy Gang, reviving memories of great shows past.
Matcham was a master of planning and levels, and in a wonderfully rich baroque auditorium of red, gold and cream it would be very easy to miss his slightly unorthodox detail adjustments which click together almost imperceptibly, again demonstrating his genius. The quality of the work extends into the great domed and lunetted ceiling, the lunettes being designed with a gesture in the direction of medieval blind tracery. Even small details, such as the numerous attractive original wall-mounted brass ashtrays, were attended to.
The reeded and ribboned proscenium arch houses an original modern work by scenic artist Lisa Dickson: a safety curtain beautifully painted in 1997 as a flsh-eye reflection of the crowded auditorium. Behind the arch, any original timber stage machinery was removed around 1970.
Ever since the days of Alfred Butt the Victoria Palace has been a theatre specializing In variety and musical shows: Me and My Girl played over 1,000 performances from 16 December 1938, and for 15 years from 1947 the Crazy Gang took the stage; they were followed by The Black and White Minstrel Show, which ran for 10 years until 1972. More recent productions have Included The Pyjama Game with Lesley Ash and Anita Dobson (1999) and The Rocky Horror Show, starring Jason Donovan (also 1999), while Annie (1998) and Buddy (1989-95) have also filled the theatre.
Early 1830s. The Royal Standard Hotel is built in Stockdale Terrace on a site now occupied by Victoria railway station / 1886. The Royal Standard rebuilt / 1911. Frank Matcham builds the Victoria Palace on the Royal Standard site for Alfred Butt / Statutorily Listed Historic Building: Grade II.
Infos complémentaires:
The Stalls hold the vast majority of the seats within the theatre and are divided by a large central aisle, running row A to row V. The section can feel quite deep in places, and towards the rear is affected by the overhang. Most of the Stalls are priced at the same rate, although the seats around the front edge of the stage are usually discounted due to the stage rake and the restrictions they can have due to their proximity. In our opinion, these are not to be avoided entirely and can provide an excellent way of seeing a show at a bargain rate. The ends of rows F, G, and H are often discounted for being on the edge curve of the stage, although in most cases this does not cause too many problems, and top priced seats are usually directly next to them.
Premium seats in the Stalls are around H-L, seats 13-23, crossing over the central aisle. Although these offer a good view of the stage, similarly good views are to be had one or two seats either side of these for a fraction of the price. The front section of the Stalls can feel very close and due to the rake of the stage can mean that the actors feet are not seen. This is obviously something that affects some people and not others, but for day seats and cheaper prices it is an excellent option. Visibility continues to be good even towards the ends of each row, and these seats often offer the most legroom for taller audience members. Although the rear section of the Stalls can feel more detached from the action, the design of the theatre means that views are still good throughout. The overhang does not cut off the top of the set, giving clear views throughout.
The Dress Circle is the first level of the theatre and offers generally good views of the stage and performance. Most of the level is priced similarly, although there are certainly better seats to be had than others. The whole section has a shallow curve, with even seats at the end of each row falling inside the main frame of the stage. The section is well raked, meaning views of the heads of people in front is more than acceptable. The stage and set is particularly low, so you always find you are looking down on the action, and there is no top to the set that can be chopped off. The level above does overhang from halfway back in the section, although this does not create too many visual problems throughout.
The section is divided by a wide central aisle with the better seats towards the centre, giving best legroom and premium views. Alcove seats and side boxes are always reduced, but these don't offer a brilliant view of the stage. Leg room is acceptable in most places, although try to avoid the front row due to the curve of the balcony. Better seats are towards the centre of the block, from row C-F. Choose seats 5-30 first, but ends of rows are not bad, especially if discounted.
The Upper Circle is similar in size and shape to the Dress Circle, with a wide central dividing aisle. The seats curve around the balcony a little bit more, meaning seats towards the ends of rows are worse value for money. The rake is steeper than the other sections, which makes sight lines generally better but can provide difficult for some audience members who struggle with heights. The section is 75 steps above street level and does feel particularly high.
A safety rail runs along the edge of the balcony and can affect the view for rows A, B and C. Some people are able to overcome this, especially in the first row, but others may prefer to sit further back to avoid it all together. Best seats are midway back, offering the best overall value for money. The back row offers the cheapest seats, although for the same price as other restricted view in the Stalls, offer worse value for money in our opinion. Most of the section is similarly priced, so choose more central seats first.
1832 Moy's Music Hall / 1863 Royal Standard Music Hall
The splendid white eye-catching exterior design, carried through to i superb baroque auditorium
Musical
Original London
1) Hamilton (Original London)
Joué durant 2 ans 4 mois 2 semaines actuellement
Première preview: mar. 21 novembre 2017
Première: mer. 06 décembre 2017
Dernière: Open end
Compositeur: Lin-Manuel Miranda •
Parolier: Lin-Manuel Miranda •
Libettiste: Lin-Manuel Miranda •
Metteur en scène: Thomas Kail •
Chorégraphe: Andy Blankenbuehler •
Avec: Rachelle Ann Go (Eliza Schuyler), Giles Terera (Aaron Burr), Rachel John (Angelica Schuyler), Obioma Ugoala (George Washington), Christine Allado (Penny Schuyler/Maria Reynolds), Jason Pennycooke (Lafayette/Thomas Jefferson), Cleve September (John Laurens/Philip Hamilton), Jamael Westman (Alexander Hamilton), Giles Terera (Aaron Burr), Michael Jibson (King George), Rachee Ann Go (Eliza Schuyler Hamiton), Rachel John (Angelica Schuyler), Jason Pennycooke (Marquis de Lafayette/Thomas Jefferson), Obioma Ugoala (George Washington), Cleve September (John Laurens/Philip Hamilton), Christine Allado (Peggy Schuyler/Maria Reynolds), Tarinn Callender (Hercules Mulligan/James Madison), Ash Hunter (Hamilton - certain performances), Courtney-Mae Briggs, Jack Butterworth, Marsha Songcome, Jon-Scott Clark, Mariam-Teak Lee, Alexlzandra Sarmiento, Jade Albertsen, Curtis Angus, Jonathan Bishop, Kelly Downing, Leslie Garcia Bowman, Lia Given, Greg Haney, Leah Hill, Barney Hudson, Waylon Jacobs, Phoebe Liberty, Christopher Tendai, Lindsey Tierney.
Commentaire: Hamilton will open at the refurbished Victoria Palace Theatre in Victoria in November 2017, with an official press opening in December 2017 (plus)
Presse: "In the end, however, the power of Hamilton lies in its ability to make the past seem vividly present. It suggests its subject was an Icarus who flew too close to the sun. But it also shows that he was an outsider who believed in strong central government and an enlightened capitalism. Above all, Miranda has created an invigorating and original musical that, at a time of national crisis, celebrates America’s overwhelming debt to the immigrant."
Michael Billington, The Guardian ★★★★★
"This musical is history in the re-making and I mean that quite literally."
Ann Treneman, The Times ★★★★★
"Whether or not Hamilton is the best musical of our generation – it clearly is, but whatever – it’s been a hit for the only reason anything is a hit: because it is a great work of entertainment."
Andrzej Łukowski, Time Out ★★★★★
"Reviewing it feels like sizing up the Mona Lisa or Beethoven’s Fifth and, in truth, Hamilton lands on the London stage looking every inch the classic."
Matt Trueman, Variety
"“The Greatest Show on Earth”, one paper declared the other day. C’mon! But seriously folks, there’s going to be more where that came from, because – lock up your doubters: I have to report that it really is as good as we’ve been told."
Dominic Cavendish, The Telegraph ★★★★★
"Hamilton is a touchstone. It’s zeitgeist, youthquake, Momentum, it’s woke, it’s post-musical. From masculinity, power struggles and the small things on earth, it metastasises into a crying epic about legacy, principle, nations, all the incredible mongrel people within those nations, and how all those people – every single one – can change the world."
Tim Bano, The Stage ★★★★★
"Hamilton is a knockout, and its British cast is superb, with two star-making performances from Giles Terera and, in the title role, magnetic newcomer Jamael Westman."
Henry Hitchings, Evening Standard ★★★★★
"This has been the most frenziedly anticipated musical in London since The Book of Mormon and the implacable publicity blitz might lead even the most mildly rebellious soul to wonder if anything could possibly live up to this degree of hype. I’m delighted to report that, for the most part, Hamilton manages to do so – quite exhilaratingly..."
Paul Taylor, the Independent ★★★★★
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Musical
Original
25) Billy Elliot (Original)
Joué durant 10 ans 11 mois
Première preview: 31 March 2005
Première: 11 May 2005
Dernière: 09 April 2016
Compositeur: Elton John •
Parolier: Lee Hall •
Libettiste: Lee Hall •
Metteur en scène: Stephen Daldry •
Chorégraphe: Peter Darling •
Avec: Cast: James Lomas/George Maguire/Liam Mower (Billy), Haydn Gwynne (Mrs Wilkinson), Tim Healy (Dad), Joe Caffrey (Tony), Ann Emery (Grandma), Trevor Fox (George), Steve Elias (Mr Braithwaite), Stephanie Putson (Dead Mum), Isaac James (Older Billy), Brad Kavanagh/Ashley Long/Ryan Longbottom (Michael), Brook Havana Bailey/Emma Hudson/Lucy Stephenson (Debbie),
Commentaire: The musical was based on the 2000 film of the same name. The original film was partly inspired by A.J. Cronin’s 19 novel “The Stars Look Down”. The musical earned excellent notices - "the greatest British musical I have ever seen" (Daily Telegraph), "a theatrical masterpiece" (Daily Mail) and won four Olivier Awards, including Best New Musical and Best Actor in a Musical awarded jointly to all three boys who played Billy. The Broadway production opened in November 2008, earning totally rave reviews, winning ten Tony Awards, and recovering its entire $18 million investment in 14 months. (The New York production closed on January 8th, 2012 following 40 previews and 1,304 performances.) (plus)
Presse: Les critiques sont très très bonnes:
MICHAEL BILLINGTON du THE GUARDIAN: "Billy Elliot succeeds brilliantly because Elton John's music and, especially, Peter Darling's choreography enhance Lee Hall's cinematic concept."
BENEDICT NIGHTINGALE du THE TIMES: "Tougher, bolder and, as my tear-ducts can attest, more moving than its admittedly admirable celluloid precursor. ...If there is a disappointment, it is Elton John’s music, which begins promisingly, with a church-like paean to cameraderie, but never seems either tuneful or original."
CHARLES SPENCER du THE DAILY TELEGRAPH: "Billy Elliot strikes me as the greatest British musical I have ever seen."
ALASTAIR MACAULAY du THE FINANCIAL TIMES: "Elton John's music is too often formulaic but about half of this show achieves dramatic poetry of a kind rare in any kind of theatre."
PAUL TAYLOR du THE INDEPENDENT: "Funny, touching and shamelessly enjoyable staging."
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Musical
Original
24) Tonight's the Night (Original)
Joué durant 11 mois
Première preview: 15 October 2003
Première: 07 November 2003
Dernière: 09 October 2004
Compositeur: Rod Stewart •
Parolier: Rod Stewart •
Libettiste: Ben Elton •
Metteur en scène: Ben Elton •
Chorégraphe: Stephen Mear •
Avec: Tim Howar (Stuart Clutterbuck ), Dianne Pilkington (Mary), Hannah Waddingham (Satan), Michael McKell (Stoner ), Catherine Porter (Baby Jane Golden), Howard Samuels (Jorge), Keith Bookman (Greaser), Jeff Edwards (Bonehead), Debbie Kurup (Dee Dee), Sharon Clancy (Winona), Tim Funnell (Rocky Washington), Tim Walton (Travolta), Lucie Fentum (Miss Mercedes), Lucy Anderson (Bootie), Rebecca Parker (Desiree), Tanya Robb (Loretta), Tyman Boatwright, Matthew Boulton, Alistair David, Matt Firth, Emma Gray, Leon Maurice-Jones, Samantha Modeste, Jo Morris, Brenda Jane Newhouse, Ngo Ngofa, Thern Reynolds, Chris Ellis-Stanton, Dean Street, Lucy Jane Adcock, Sarah Dickens, Jane McMurtrie, Darragh O'Leary, Tino Sanchez, Paul Shipp
Commentaire: This was another of Ben Elton’s catalogue shows, wrapping a story around a series of hit songs. Even before it opened it was being referred to as “We Will Rod You”. Just like “We Will Rock You”, the critics hated this show, describing it as written on the back of an envelope while waiting for the kettle to boil. With top-price tickets at £55, it was rapidly known as “We Will Rob You”. However, perhaps aware of how wrong they were over the Freddie Mercury tribute, this time most critics were able to praise the music, the choreography and the songs, whilst hating the thin story, smutty humour, gratuitous gay banter and crude sexual stereotyping. The show ran for eleven months. (plus)
Presse: LYN GARDNER for THE GUARDIAN says, "A little gaudy, bawdy, over-amplified entertainment."
BENEDICT NIGHTINGALE for THE TIMES says, "Pretty dim stuff, not helped by less-than-lively dialogue....but we still get some ebullient tunes."
NICHOLAS DE JONGH for THE EVENING STANDARD says, "A book of flamboyant silliness that interferes with the pleasure of hearing Rod Stewart's biggist hits.."
ADAM SCOTT for THE INDEPENDENT says, "The songs serve the plot. And what a lot of service it needs."
SARAH HEMMING for THE FINANCIAL TIMES says, "Ben Elton's script is cheerfully daft...."
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Musical
Revival
23) Grease (Revival)
Joué durant 11 mois 1 semaine
Première preview: 26 September 2002
Première: 02 October 2002
Dernière: 06 September 2003
Compositeur: Jim Jacobs • Warren Casey •
Parolier: Jim Jacobs • Warren Casey •
Libettiste: Jim Jacobs • Warren Casey •
Metteur en scène: David Gilmore •
Chorégraphe: Arlene Phillips •
Avec: Greg Kohout (Danny Zuko), Caroline Sheen (Sandy), Dawn Spence (Rizzo), Matthew Cutts (Kenickie), Emma Cannon (Marty), Tanya Oaridia (Frenchy), Richard Taylor Woods (Sonny), Daniel Boys, Paul Burnham, Lee Latchford Evans, Lorraine Graham, Gary Jordan
Commentaire: Following its original six year-run in the West End, and an extensive UK tour, this same production was now back in London, where it would run for a further eleven months. (plus)
Presse:
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Musical
Revival
22) Kiss me Kate (Revival)
Joué durant 9 mois 3 semaines
Première preview: 30 October 2001
Première: 30 October 2001
Dernière: 24 August 2002
Compositeur: Cole Porter •
Parolier: Cole Porter •
Libettiste: Bella Spewack • Samuel Spewack •
Metteur en scène: Michael Blakemore •
Chorégraphe: Kathleen Marshall •
Avec: Brent Barrett (Fred Graham), Marin Mazzie (Lili Vanessi), Colin Farrell (Harry), Nancy Anderson (Lois Lane), Michael Berresse (Bill Calhoun), Teddy Kempner & Jack Chissick (Gangsters), Kaye E. Browne (Hattie, ^Nolan Frederick (Paul), Nicolas Colicos (Harrison Howell)
Commentaire: This was a transfer from Broadway, with Marin Mazzie and Michael Berresse repeating the roles they had played in New York, where the show had opened in November 1999 and run for 881 performances. (The show interpolates one extra Cole Porter song - “From this Moment On”). It won several awards on Broadway and was lavishly praised by the London critics. It closed on August 24th after nearly ten months. (plus)
Presse: BENEDICT NIGHTINGALE for THE TIMES says, “Kiss Me, Kate is packed with super songs”
CHARLES SPENCER for THE DAILY TELEGRAPH says, “It is a dazzling evening of inventive, infectious pleasure.”
MICHAEL BILLINGTON for THE GUARDIAN says, “There may be greater musicals than Kiss Me Kate: there are few that provide such constant, time-suspending pleasure.”
PAUL TAYLOR for THE INDEPENDENT says, “The audience floats out of the theatre on a wave of unalloyed joy.”
NICHOLAS DE JONGH for THE EVENING STANDARD says, “A dazzling night.”
SHERIDAN MORLEY for TELEXT says, “One of the greatest revivals I have ever seen. Gotta sing, gotta dance, gotta see it!”
JOHN PETER for THE SUNDAY TIMES says, "Inventive, vigorous, warm-hearted and gloriously sophisticated." He goes on to say, "If this show doesn't lift your heart up in these dark days, nothing will. "
PETER HEPPLE for THE STAGE says, "Something as close to unalloyed joy as you can find in the theatre."
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Musical
Revival
21) Fame (Revival)
Joué durant 11 mois 1 semaine
Nb de représentations: 794 représentations
Première preview: 28 September 2000
Première: 03 October 2000
Dernière: 08 September 2001
Fait partie de: London Run
Compositeur: Steve Margoshes •
Parolier: Jacques Levy •
Libettiste: Jose Fernandez •
Metteur en scène: Karen Bruce • Runar Borge •
Chorégraphe: Lars Bethke •
Avec: Mazz Murray (Mabel), Rebekah Gibbs (Carmen), Tee Jay, Robert Miller, Leigh Ann Regan, Golda Rosheubal, Becks Hanks, William Wolfe Hogan .
Commentaire:
Presse:
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Parolier: Jacques Levy •
Libettiste: Jose Fernandez •
Metteur en scène: Karen Bruce • Runar Borge •
Chorégraphe: Lars Bethke •
Avec: Mazz Murray (Mabel), Rebekah Gibbs (Carmen), Tee Jay, Robert Miller, Leigh Ann Regan, Golda Rosheubal, Becks Hanks, William Wolfe Hogan .
Musical
Original
20) La Cava (Original)
Joué durant 1 mois 2 semaines
Nb de représentations: 52 représentations
Première preview: 22 May 2000
Première: 08 June 2000
Dernière: 22 July 2000
Compositeur: Laurence O'Keefe •
Parolier: John Claflin • Laurence O'Keefe • Shaun McKenna •
Libettiste: Dana Broccoli •
Metteur en scène: Steven Dexter •
Chorégraphe: Mitch Sebastian •
Avec: Oliver Tobias (King Roderic), Julie-Alanah Brighten (Florinda), David Bardsley (General Espatorias), Daniel Redmond (Somal), Paul Keating (Agon), Patrick Romer (Archbishop), Joshua Bancel (Tariq), Richard Woodford (Marcus), Marilyn Cutts, Luke Evans
Commentaire: Dana Broccoli was the widow of the legendary producer of the James Bond films, and a successful novelist in her own right. This lavishly funded production was magnificently staged with spectacular battle-scenes. The notices were mixed, though generally they tipped towards the view that the audience would certainly get its money’s worth and lovers of great romantic, spectacular over-blown epics would have a great night’s entertainment. After seven weeks at the Victoria Palace it transferred to the Piccadilly Theatre and finally closed after a total run of eight months, closing February 3rd, 2001 (plus)
Presse: BRIAN LOGAN for TIME OUT says, 'La Cava' is actually rather good." He goes on to say, "Its songs aren't bland or saccharine; they can be witty or...vicious." He finishes by saying "A rollicking good yarn which deserves to succeed."
LISA MARTLAND for THE STAGE says, "There are those who probably could not wait for another victim to add to the current toll of musical turkeys, but this...might not be so easy to dismiss." She goes on to say, "Laurence O'Keefe and Stephen Keeling's music can be bland on occasion, but there are also some nice melodies.."
THE INDEPENDENT says, "Dana Broccoli's scenario began life as a novel, a form which thrives on endless complications. But on stage all that plot feels like two and a half hours of exposition. Broccoli and her composers and lyricists simply cannot turn it all into a satisfying musical scenario."
THE FINANCIAL TIMES says, "This strange event, based on the novel by Dana Broccoli (which in turn is based on historical events), is not dislikeable, just rather relentless. There are witty lines and comic moments, but they get swallowed up in the rising tide of passion and unremitting succession of events."
THE TIMES says, "On paper it promises more dramatic excitement than, say, Cats. But paper is paper and the stage the stage. La Cava is, as it turns out, far from the worst of the period musicals that have been clogging up the West End of late." THE DAILY TELEGRAPH says, "Another day, another doomed musical. Yet of all the turkeys that have arrived on our stages recently, La Cava is the one I've enjoyed most. It's tosh, of course, but often surprisingly entertaining tosh, though the bovine stupidity of producers continues to baffle me."
THE EVENING STANDARD says, "The cast do their best with a cumbersome framework. Tobias is rugged enough while the likable Julia-Alanah Brighten makes a decent stab at evolving from teenybopper to seductress to her chastened denouement."
THE SUNDAY TIMES says, "Oliver Tobias brings quiet dignity to a woefully underwritten role."
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Musical
Revival
19) Pajama Game (The) (Revival)
Joué durant 2 mois 2 semaines
Nb de représentations: 88 représentations
Première preview: 10 September 1999
Première: 04 October 1999
Dernière: 18 December 1999
Compositeur: Jerry Ross • Richard Adler •
Parolier: Jerry Ross • Richard Adler •
Libettiste: George Abott • Richard Bissell •
Metteur en scène: Simon Callow •
Chorégraphe: David Bintley •
Avec: John Hegley (Hines), Leslie Ash (Babe Williams),
Graham Bickley (SidSorokin), Jenny Ann Topham (Gladys), Anita Dobson (Mabel), Jonathan D. Ellis (Prez), John Levitt (Mr Hasler) Alison Limerick (Gladys Hotchkiss), Karen Clegg, Heather Craig, Francesco D'Astici, Louise Davidson, Rufus Dean, Peter Edbrook, Steve Elias, Catie Entwhistle, Laura Hussey, Natasha Knight, John Levitt, Saskia Lockey, Paul Micha, Lucy Potter, Adam pudney, Phillipe Reynolds, Simon Smith, Deborah Spellman, Todd Talbot, Frank Thompson, Jenny-Ann Topham.
Commentaire: During the pre-London tour the lead female role was played by Ulrika Jonsson, who withdrew and her part was taken by Leslie Ash. It was 45 years since the show had last been in London, but generally the critics felt it had not been worth reviving - especially in what was described as a lacklustre production with some very peculiar scenery designs by the abstract painter, Frank Stella. It
ran for ten weeks. (plus)
Presse: NICHOLAS DE JONGH of THE EVENING STANDARD says, "The pyjamas are fine but where's the passion…"
BENEDICT NIGHTINGALE of THE TIMES says, "You can hum along, but that's about all."
SHERIDAN MORLEY of TELETEXT says, "Simon Callow's claims that this is one of the best Broadway musicals ever are in my view misplaced. I would not put it even in the top 20, because the songs in no way advance the story."
CHARLES SPENCER of THE DAILY TELEGRAPH says, "Unfortunately in Callow's production the show seems over-energetic, undersexed and desperately short of real star quality."
However, not all reviews were bad, ALASTAIR MACAULAY of THE FINANCIAL TIMES says, "Crazy fun on the factory floor" and goes on to say "Simon Callow's new production is spot-on - most of the time."
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Musical
Original
18) Soul Train (Original)
Joué durant 2 mois 2 semaines
Première preview: 16 June 1999
Première: 22 June 1999
Dernière: 04 September 1999
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Divers •
Metteur en scène: Mark Clements •
Chorégraphe: Stephen Mear •
Avec: Sharon Benson, Jacqui Boatswain, Sheila Ferguson, C. Gerod Harris, Danny John-Jules, Melanie E Marshall, Karen McSween, David Obinyan, Jason Pennycooke, Colin Roy, Vanessa Smith
Commentaire: Another “jukebox” musical with hardly any plot - this offered some 47 songs (or bits of songs) - and was ostensibly a dramatised history of soul music, starting with a church-type gospel choir who then rip off their cassocks to reveal sequinned dresses, and illustrate the story with video projections of the Ku Klux Klan and the Vietnam War. It was described as a “lazy, ramshackle and short-lived excuse for a show”, but a superbly sung and performed celebration of black music. It closed after just ten weeks. (plus)
Presse: THE EVENING STANDARD says, "Soul Train may be a lazy, ramshackle and short-lived excuse for a show, but the soul itself is immortal."
THE SUNDAY TIMES says "Uplifting party fare for anyone who keeps a copy of The Blues Brothers next to the home VCR."
THE DAILY TELEGRAPH says, "I'm afraid Soul Train is just another bog-standard compilation show with none of the ingenuity of Mamma Mia!"
THE FINANCIAL TIMES says, "Even that shameless exercise in exploitation. The Blues Brothers stage show, has more plot than Soul Train.
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Musical
Revival
17) Rocky Horror Show (The) (Revival)
Joué durant 1 mois 3 semaines
Première preview: 14 April 1999
Première: 14 April 1999
Dernière: 05 June 1999
Compositeur: Richard O'Brien •
Parolier: Richard O'Brien •
Libettiste: Richard O'Brien •
Metteur en scène: Christopher Malcolm •
Chorégraphe: Stacey Haynes •
Avec: Nicholas Parsons/Ken Morley (Narrator), Jason Donovan ((Frank-n-Furter), Ross O’Hennessy (Rocky Horror), Stuart De La Mere (Brad), Simona Morecroft (Janet), Geòrgie Haynes (Riff-Raff), Laurie Brett (Magenta), Gael Johnson (Columbia), Mark White (Eddie/Dr Scott)
Commentaire: Once again back in the West End celebrating the show’s 25th anniversary, no one could quite work out why it was billed as the “New” Rocky Horror Show. Neither the scenery nor costumes looked new, and, according to the Evening Standard, this was the cheapest looking production yet staged. However, Jason Donovan was effective as Frank. (plus)
Presse:
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Musical
UK Revival
16) Annie (UK Revival)
Joué durant 5 mois
Nb de représentations: 173 représentations
Première preview: 22 September 1998
Première: 30 September 1998
Dernière: 28 February 1999
Compositeur: Charles Strouse •
Parolier: Martin Charnin •
Libettiste: Thomas Meehan •
Metteur en scène: Martin Charnin •
Chorégraphe: Peter Gennaro •
Avec: Lesley Joseph (Miss Hannigan), Charlene Barton/Sophie McShera (Annie), Kevin Colson (Oliver Warbucks), Kate Normington (Grace Farrell). Andrew Kennedy (Rooster), Gail Marie Shapter (Lily), Matt Zimmerman (Bert Healy), Peter Harding (FDR)
Commentaire: This was re-created by the same production team that staged the original London production in 1978 - twenty years earlier. Most critics welcomed it back, though one or two felt the intervening decades had taken the edge off the show. It ran for five months. (plus)
Presse: ROBERT GORE-LANGTON of THE DAILY EXPRESS says, A vat of shameless syrup, I lapped it up. In the West End race for the big Christmas outing, Annie moves into poll position."
BENEDICT NIGHTINGALE of THE TIMES said "I enjoyed Thomas Meehan, Charles Strouse and Martin Charnin's musical when it first hit London 20 years ago, and, sap that I still must be, I enjoyed its latest revival. "
NICHOLAS DE JONGH of THE EVENING STANDARD says, "This beautifully staged revival of the 1970s American musical that rivals peaches and cream for unadulterated wholesomeness proves the age of innocence is alive and well."
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15) Sweet Charity (Revival)
Joué durant 2 mois 4 semaines
Nb de représentations: 103 représentations
Première preview: 09 May 1998
Première: 19 May 1998
Dernière: 15 August 1998
Compositeur: Cy Coleman •
Parolier: Dorothy Fields •
Libettiste: Neil Simon •
Metteur en scène: Carol Metcalfe •
Chorégraphe: Bob Fosse •
Avec: Bonnie Langford (Chanty), Cornell John {Oscar), Mark Wynter (Vittorio Vidal) Johanne Murdock (Nicky), Jane Fowler (Helene), Omar F. Okai (Brubeck)
Commentaire: This production originated at the Churchill Theatre, Bromley. Its West End run was just three months, following very mixed reviews. (plus)
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14) Fame (Revival)
Joué durant 2 mois 1 semaine
Première preview: 10 November 1997
Première: 10 November 1997
Dernière: 17 January 1998
Compositeur: Steve Margoshes •
Parolier: Jacques Levy •
Libettiste: Jose Fernandez •
Metteur en scène: Runar Borge •
Chorégraphe: Lars Bethke •
Avec: Lucy Williamson, Kev Orkian
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13) Always (Original)
Joué durant 1 mois 2 semaines
Nb de représentations: 54 représentations
Première preview: 22 May 1997
Première: 10 June 1997
Dernière: 26 July 1997
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Divers •
Metteur en scène: Thommie Walsh • Frank Hauser •
Chorégraphe: Thommie Walsh •
Avec: Jan Hartley (Wallis Simpson), Clive Carter (Edward VIII), Shani Wallis (Aunt Bessie), David McAlister (Ernest Simpson), James Home (Stanley Baldwin), Ursula Smith (Queen Mary), Chris Humphreys (Lord Mountbatten), Buster Skeggs (Lady Colefax), Helen Anker (Lady Furness) , Sheila Ferguson (Analise L ’Avender)
Commentaire: Unfortunately the end result was not a great love story. It was a mish-mash of confused scenes, skimpy characterisation, lacking any sense of period and history, and prone every so often to throw in a musical sequence, including one spectacularly over-blown fairground nightmare sequence with chorus boys dressed as carousel horses. The critics had a field day describing “Always” as “Briefly”, and it was said that backstage the cast themselves referred to the show as “Wallis and Vomit”. It closed after seven weeks, with huge losses. (plus)
Presse: NICK CURTIS of THE EVENING STANDARD written an awful review of the show saying, "There have been dud musicals this year, but nothing to match this gloriously mis-guided attempt by novice writers William May and Jason Sprague" he goes on to say " The tunes are bland and repetitive, the lyrics staggeringly banal."
LYN GARDNER of THE GUARDIAN is not impressed either, saying the show lacks "anything approaching a good tune." and in reference to the 28 scenes in the show, goes on to say " The authors appear to have imagined that they were writing a movie not a musical." There is a luke warm response from
CHARLES SPENCER of THE DAILY TELEGRAPH, "It's not that bad. But it must emphatically be added that it's no that good either.' he then goes on to say the production is "slick but hollow" and concludes "I fear the show's run is doomed to be a deal briefer than Edward VIII's reign."
BILL HAGERTY of THE NEWS OF THE WORLD describes the show has having, "insipid songs, unimaginative choreography and dialogue."
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12) Jolson the musical (Original)
Joué durant 1 an 4 mois 4 semaines
Première preview: 21 October 1995
Première: 26 October 1995
Dernière: 22 March 1997
Compositeur: *** Divers •
Parolier:
Libettiste: Rob Bettinson •
Metteur en scène: Rob Bettinson •
Chorégraphe: Tudor Davies •
Avec: Brian Conley (Al Jolson), Sally Ann Triplett (Ruby Keeler), John Bennett (Louis Epstein), John Conroy (Frankie Holmes), Brian Greene (Lee Shubert), Gareth Williams (Harry Cohn), David Bacon (Sam Warner)
Commentaire: This was a complete triumph for Brian Conley, and there was much praise for Sally Ann Triplett in her first major West End role. There was one number in black-face, potentially controversial, though ironically in the same theatre where the Black & White Minstrels had reigned for some ten years! (plus)
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11) Buddy (Original)
Joué durant 5 ans 11 mois 3 semaines
Première preview: Inconnu
Première: 12 October 1989
Dernière: 30 September 1995
Fait partie de: London Run
Compositeur: Buddy Holly •
Parolier: Alan Janes • Rob Bettinson •
Libettiste: Alan Janes • Rob Bettinson •
Metteur en scène: Rob Bettinson •
Chorégraphe: Aucun •
Avec: Paul Hip {Buddy Holly), Gareth Marks (Big Bopper), Enzo Squillino Jr (Ritchie Valens), David Howarth, David Bardsley, Loma Lee, Bo Light, Billy Geraghty, Paul Case, Graham Brand
Commentaire: With its initial 12 year run in the West End, this became one of the longest-running shows (and would later be revived in 2007 for a further 18 months) whilst in-between times it toured non-stop through the UK.
Its Broadway production in 1990 ran for just 225 performances.
It was originally conceived by Laurie Mansfield and Paul Elliot with support from Paul McCartney (who owned the copyrights to Buddy Holly's music) Paul McCartney objected to many inaccuracies in 1978 film version of Buddy Holly’s life and was happy to support a show which told a truer story. (plus)
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Parolier: Alan Janes • Rob Bettinson •
Libettiste: Alan Janes • Rob Bettinson •
Metteur en scène: Rob Bettinson •
Chorégraphe: Aucun •
Avec: Paul Hip {Buddy Holly), Gareth Marks (Big Bopper), Enzo Squillino Jr (Ritchie Valens), David Howarth, David Bardsley, Loma Lee, Bo Light, Billy Geraghty, Paul Case, Graham Brand
Its Broadway production in 1990 ran for just 225 performances.
It was originally conceived by Laurie Mansfield and Paul Elliot with support from Paul McCartney (who owned the copyrights to Buddy Holly's music) Paul McCartney objected to many inaccuracies in 1978 film version of Buddy Holly’s life and was happy to support a show which told a truer story. (plus)
Musical
Revival
10) Brigadoon (Revival)
Joué durant 9 mois 1 semaine
Première preview: Inconnu
Première: 25 October 1988
Dernière: 05 August 1989
Compositeur: Frederik Loewe •
Parolier: Alan Jay Lerner •
Libettiste: Alan Jay Lerner •
Metteur en scène: Roger Redfarn •
Chorégraphe: Agnès de Mille • Tommy Shaw •
Avec: Robert Meadmore (Tommy Albright), Robin Nedwell (Jeff Douglas), Jacinta Mulcahy (Fiona MacLaren), Lesley Mackie (Meg Brockie), Maurice Clarke (Charlie), lan MacKenzie Stewart (Harry)
Commentaire: The original Broadway production was in March 1947 and ran for 581 performances. The London premiere was at His Majesty’s Theatre, April 14th 1949 and ran even longer than in New York - for 685 performances with Philip Hanna, Patricia Hughes and Noele Gordon. (plus)
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9) Winnie (Original)
Joué durant
Nb de représentations: 63 représentations
Première preview: Inconnu
Première: 31 May 1988
Dernière: Inconnu
Compositeur: *** Divers • Cyril Ornadel •
Parolier: *** Divers •
Libettiste: Robin Hardy •
Metteur en scène: Albert Marre •
Chorégraphe:
Avec: Robert Hardy (Jack Craven), Virginia McKenna (Stella McKay), Carl Duering (Heinrich Kunz), Frank Thornton, Barry Howard, Larry Drew, Charles West, Don Fellows, Toni Palmer.
Commentaire: It was a most peculiar mish-mash of wartime nostalgia, patriotism, send-up and music-hall type numbers, and some kind of “message” in the show’s ending, when they learn that Churchill has actually lost the election. Most critics did not know what to make of it, but those that did claimed it was appalling and a complete disaster.
The show went into liquidation with reports of £135,000 owed to unpaid creditors, £60,000 owed in VAT, and £1.5 million lost to its 76 investors. (plus)
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8) High Society (Revival)
Joué durant 10 mois 3 semaines
Nb de représentations: 420 représentations
Première preview: Inconnu
Première: 25 February 1987
Dernière: 16 January 1988
Compositeur: Cole Porter •
Parolier: Cole Porter • Susan Birkenhead •
Libettiste: Arthur Kopit •
Metteur en scène: Richard Eyre •
Chorégraphe:
Avec: True Love, Who Wants to Be a Millionaire?, Now You Has Jazz, Samantha, (and interpolated from earlier Cole Porter Shows: I’ll Black Your Eyes, Hey Good Lookin’, In the Still of the Night)
Commentaire: Based on “The Philadelphia Story” by Philip Barry and the MGM film “High Society”. There was heavy criticism for the casting of non-singers -Natasha Richardson, Trevor Eve and Stephen Rea - in a musical, and for a number of occasions when the cast were obviously miming to pre-recorded tracks. (On August 10th major cast changes had Patrick Ryecart, Steven Pacey and the American Julie Osburn replacing the three main leads). The scenery was heavy, clunky and impractical and the production rather over-blown with an onstage orchestra being trucked forward, backwards and sideways in Wurlitzer juke-box shaped bandstands. (plus)
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7) Charlie Girl (Revival)
Joué durant 8 mois
Nb de représentations: 234 représentations
Première preview: Inconnu
Première: 19 June 1986
Dernière: 18 February 1987
Compositeur: David Heneker • John Taylor •
Parolier: David Heneker • John Taylor •
Libettiste: Hugh Williams • Margaret Williams • Ray Cooney •
Metteur en scène: Stewart Trotter •
Chorégraphe: Onna White • Mike Fields •
Avec: Cyd Charisse (Lady Hadwell), Paul Nicholas (Joe Studholme), Nicholas Parsons (Nicholas Wainwright), Lisa Hull (Charlie), Dora Bryan (Kay Connor), Mark Wynter (Jack Connor).
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6) Barnum (Revival)
Joué durant 1 an 1 mois 1 semaine
Première preview: Inconnu
Première: 14 March 1985
Dernière: 26 April 1986
Compositeur: Cy Coleman •
Parolier: Michael Stewart •
Libettiste: Mark Bramble •
Metteur en scène: Peter Coe •
Chorégraphe: Buddy Schwab •
Avec: Michael Crawford (P.T.Barnum), Eileen Battye (Charity Bar num), Michael Heath (Ringmaster), Paul Miller (Tom Thumb), Christina Collier (Jenny Lind), Peter & Sue Barbour, Graham Fawcett, Debbie Steel
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5) Call Me Madam (Revival)
Joué durant 2 mois
Première preview: Inconnu
Première: 14 March 1983
Dernière: 14 May 1983
Compositeur: Irving Berlin •
Parolier: Irving Berlin •
Libettiste: Howard Lindsay • Russel Crouse •
Metteur en scène: Roger Redfarn •
Chorégraphe: Tudor Davies •
Avec: Noele Gordon (Sally Adams), Basil Hoskins (Cosmo), William Relton (Ken Gibson), Veronica Page (Princess Maria), Christopher Marlowe, David Alder, Bruce Morrison
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4) Windy City (Original)
Joué durant 7 mois 1 semaine
Nb de représentations: 250 représentations
Première preview: Inconnu
Première: 20 July 1982
Dernière: 26 February 1983
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Divers •
Metteur en scène: Peter Wood •
Chorégraphe:
Avec: Dennis Waterman (Hildy Johnson), Anton Rodgers (Walter Burns), Diane Langton (Mollie Malloy), Amanda Redman (Esther Stone), Robert Longden (Earl Williams), Victor Spinetti, Shaun Curry, David Sinclair
Commentaire: Based on the play “The Front Page” by Ben Hecht and Charles MacArthur (plus)
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3) Annie (Original London)
Joué durant 3 ans 7 mois
Nb de représentations: 1485 représentations
Première preview: Inconnu
Première: 03 May 1978
Dernière: 28 November 1981
Compositeur: Charles Strouse •
Parolier: Martin Charnin •
Libettiste: Thomas Meehan •
Metteur en scène: Martin Charnin •
Chorégraphe: Peter Gennaro •
Avec: Andrea McArdle (Annie), Sheila Hancock (Miss Hannigan), Stratford Johns (Oliver War bucks), Judith Paris (Grace Farrell), Kenneth Nelson (Rooster), Clovissa Newcombe (Lily), Damon Sanders (President Roosevelt)
Commentaire: The musical premiered in the West End at the Victoria Palace Theatre on 3 May 1978. Though Andrea McArdle played the title role for 40 performances, British 12-year-old Ann Marie Gwatkin was also cast in the title role and appeared on the Original London cast recording. She alternated with Christine Hyland and five other Annies were cast at this point: Anne O'Rourke, Tracy Taylor, Jacinta Whyte, Helen Thorne and Gillian White, who were all to play the role over the next three years. Miss Hannigan was originally played by Sheila Hancock, and later by Maria Charles and Stella Moray; Daddy Warbucks was played by Stratford Johns and later by Charles West, with Deborah Clarke playing Pepper. Annie closed on 28 November 1981, after 1485 performances. (plus)
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2) Love Racket (The) (Original)
Joué durant
Première preview: 21 October 1943
Première: 21 October 1943
Dernière: Inconnu
Fait partie de: London Run
Compositeur: Noel Gay •
Parolier: Barbara Gordon • Basil Thomas • Frank Eyton • Leslie Gibbs •
Libettiste: Stanley Lupino •
Metteur en scène: William Mollison •
Chorégraphe: Freddie Carpenter •
Avec: Harry Milton (Johnnie Stanton), Carol Raye (Jane Denver), Roy Royston (Jimmie), Valerie Tandy (Minnie), Arthur Askey (Tony Merrick), Peggy Carlisle (Bonnie), Finlay Currie (Samuel T. Kelly), Hugh Morton (The Stranger)
Commentaire: Se jouera au Victoria Palace Theatre, au Princes Theatre puis à l'Adelphi Theatre. (plus)
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Parolier: Barbara Gordon • Basil Thomas • Frank Eyton • Leslie Gibbs •
Libettiste: Stanley Lupino •
Metteur en scène: William Mollison •
Chorégraphe: Freddie Carpenter •
Avec: Harry Milton (Johnnie Stanton), Carol Raye (Jane Denver), Roy Royston (Jimmie), Valerie Tandy (Minnie), Arthur Askey (Tony Merrick), Peggy Carlisle (Bonnie), Finlay Currie (Samuel T. Kelly), Hugh Morton (The Stranger)
