Londres
Wyndham s Theatre
Londres - Angleterre
Construction: 1899
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Topologie du théâtre
Nombre de salles actives: 1
Salle 1: (750) 1899 - Actif
Accès
En métro: Leicester Square
En bus: 24, 29, 176
Adresse: Charing Cross Road, London, WC2H 0DA
Evolution
Bâtiment: 1899. Designed by W. G. R. Sprague for (Sir) Charles Wyndham and Mary Moore, and built on the Marquess of Salisbury's estate / Statutorily Listed Historic Building: Grade II*
Nom:
Propriétaire(s)
Delfont Mackintosh Theatres
Remarquable
A perfect example of how judicious planning can achieve an illusion of space on a very restricted site / One of the finest theatre interiors in London
750
1899 - Actif
Wyndham’s Theatre is situated on the western edge of Covent Garden, close to the junction of Charing Cross Road with Cranbourne Street, amid a mass of street furniture. The building occupies an island site, which prior to their demolition in 1897 supported some dozen small units, including a pub. It Is divided from Its neighbours by St Martin’s Court, a narrow pedestrian way paved with York stone, which precludes any possible expansion beyond its existing yellow stock-brick outer walls. To Its north a dull stone block of the 1930s gives access to Leicester Square underground station, and a plaque records the birth here in 1859 of Sidney Webb, the Fabian socialist and gradualist social reformer. In an area once famous for 'horsy and fighting men’, the neighbouring Round Table pub Is said to have housed American John C. Heenan before his championship fight with Englishman Tom Sayers at the end of the 18th century.
Sir Charles Wyndham was born In Liverpool in 1837 and christened Charles Culverwell. The son of a surgeon, he studied medicine In London and Dublin, qualifying In 1858, but at the same time and - against his father’s wishes - he harboured a burning desire to become an actor. In 1862 Culverweil joined the federal army to serve as a surgeon in the American Civil War, taking leave from his duties during the winter months to appear on the New York stage. In 1865 he returned home to pursue a theatrical career, changing his name to Wyndham along the way. In 1875 he became actor-manager at the Criterion Theatre, and It was here that he met the 23-year-old actress Mary Moore, already married to playwright James Albery (who died of cirrhosis of the liver In 1889) and a mother of three children. Beautiful and clever, Mary became Wyndham’s leading lady and business partner, and his wife only three years before his death In 1919. By that time they owned three West End theatres, the Criterion, Wyndham’s and the New (now the Noël Coward Theatre) In St Martin's Lane; and Charles Wyndham had become Sir Charles, having been knighted for services to the theatre In 1902, an accolade that ensured his acceptance Into the polite society of Edwardian England.
Having found success on the London stage by the late 1890s, Wyndham turned to pursue his longstanding ambition to establish his own theatre. The buildings on the Charing Cross Road site were in a state of decay, and ripe for redevelopment. A Mr Pyke had also noted the island’s potential, but the Marquess of Salisbury, upon whose land the buildings stood, so admired Wyndham as an actor that this opposition was summarily despatched, and the site was Wyndham’s - provided he could raise the purchase price and subsequent building costs. He was not a wealthy man, and It was Mary Moore who rescued a potentially difficult situation, raising the money through her society connections.
To design his theatre, Charles Wyndham commissioned the 34-year-old W. G. R. Sprague, an admirer of the French and Italian Renaissance. In Wyndham’s - one of eight theatres that Sprague had on his drawing board In 1899 - he produced the epitome of European civic theatre architecture overlaid with an English sense of good breeding and quiet confidence. Faced In Portland stone, the free classical façade of two and three storeys Is three major bays wide. The central bay has a balustrade loggia at first-floor level, and a crowning pediment containing a bust of Shakespeare flanked by muses and cherubs. The foyer entrance is to the left of the façade, leading through enriched doors to a very pretty circular blue and gold foyer with a small but attractive staircase, which, In turn, gives way to one of London's most beautiful and little-altered auditoria. Elegant and sophisticated, It is decorated In a Louis XVI style, retaining the original turquoise blue and cream colour scheme described in The Era of November 1899, with painted panels of flowers and leaves on the royal- circle front, and lion-head masks and medallions, in painted panel, on the grand-circle front. The steeply raked balcony rises up from the rear of the grand circle. The richly gilded architectural proscenium is dominated by three-dimensional allegorical figures and flanked by three tiers of bow- fronted boxes between Corinthian pilasters. The circular celling comprises four very fine painted panels after François Boucher, an 18th-century painter of pastorals.
Although little survives of the original timber sub¬stage machinery, the fly-floors were fully hemp- worked until 2008. While this was a rare and rewarding sight, it Imposed limitations on the productions that could be brought into the theatre as well as creating health and safety issues.
The theatre opened with David Garrick in a play by T. W. Robertson, and has since staged many successes, including J. M. Barrie’s Dear Brutus (1917), Edgar Wallace’s The Ringer (1926) and, after the Second World War, Quiet Weekend, which ran for 1,059 performances. More recent successes include The Prime of Miss Jean Brodie (1966) Godspeii (1972) and Art (1996).
1899. Designed by W. G. R. Sprague for (Sir) Charles Wyndham and Mary Moore, and built on the Marquess of Salisbury's estate / Statutorily Listed Historic Building: Grade II*
Infos complémentaires:
The Stalls section is priced at one level with only the two back rows offering any form of discount. The section is divided by a half aisle, and the seats fan out from the stage with shorter rows leading to longer rows towards the back. All seats fall into the proscenium giving a good overall view of the stage. Seats are raked gently from the first couple of rows, and this becomes more severe from row H. Seats in the first three rows feel very close to the stage, and depending on the performance can be restricted. The final two rows of the stalls are divided by an aisle, and are priced a level below as the top of the stage is obstructed. For most performance this is not too much of an issue.
The overhang begins around row J, with Rows M and back suffering from the level above. Best value seats are therefore from row E - L, as central as possible. The stalls are 18 steps below street level.
The Dress Circle once again is all priced at one level, despite a mixed degree of seating views. Known as the Royal Circle in this theatre, the section is undivided and is wide with six rows running up to thirty seats. The front rows curve around the balcony, and as the section is particularly shallow, some seats towards the ends of each row offer slightly side on views. The section is all raked throughout although legroom is not brilliant compared to other venues. From row D-F the views are not as good as elsewhere in the house at the same price. The overhang of the Grand Circle begins to effect the view from rows E and F, with row G set behind the rest of the seats.
Boxes on this level do not provide good value for money, as a lot of the stage can be lost. The chairs are free standing, so you may be able to move around the get the best view.
Legroom in the Upper Circle isn't fantastic, and due to the shape of the section it can feel uncomfortable. Prices continue to get cheaper towards the back of the section, but seats at the end of each row should be avoided or chosen only when discounted. The four rows wrap around the balcony with some seats giving a side on view of the stage. Seats do feel far away from the stage, and can be affected by lighting equipment so the front row can sometimes have sight problems. The best seats are towards the centre of rows B and C, and you should try to sit as close to here as possible. The first and last seats of each row are often counted as 'restricted view' because of the curve of the balcony.
The balcony is divided into two sections, right and left. Seats are usually all priced the same, and those towards the centre offer the best value. A general safety rail runs along the balcony and can affect the view for shorter audience members, but the safety rails in front of rows B and D do not affect the view. Although you feel close to the celing of the theatre and seem very far from the action the overall view is pretty clear. Those looking for a bargain will be able to see the action, although feel far away.
A perfect example of how judicious planning can achieve an illusion of space on a very restricted site / One of the finest theatre interiors in London
Musical
Revival
43) Oklahoma! (Revival)
Joué durant 6 mois
Première preview: 16 February 2023
Première: 28 February 2023
Dernière: 02 September 2023
Compositeur: Richard Rodgers •
Parolier: Oscar Hammerstein II •
Libettiste: Oscar Hammerstein II •
Metteur en scène: Daniel Fish •
Chorégraphe: John Heginbotham •
Avec: Raphael Bushay (Mike), Arthur Darvill (Curly), James Patrick Davis (Will Parker), Stavros Demetraki (Ali Hakim), Rebekah Hinds (Gertie Cummings), Greg Hicks (Andrew Carnes), Anoushka Lucas (Laurey), Marie-Astrid Mence (Lead Dancer), Liza Sadovy (Aunt Eller), Patrick Vaill (Jud), Georgina Onuorah (Ado Annie), Phillip Olagoke (Cord Elam), Andrew Berlin, Arthur Boan, Shani Cantor, Anna-Maria de Freitas, George Maddison, Brianna Ogunbawo, Finlay Paul, Helen K Wint
Commentaire: West End transfert de la version du Young Vic de 2022, elle-même provenant des Etats-Unis (2019). (plus)
Presse:
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Théâtre
West End Transfer
42) Life of Pi (The) (West End Transfer)
Joué durant 2 mois 3 semaines
Première preview: 22 June 2020
Première: 09 July 2020
Dernière: 04 October 2020
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Divers •
Metteur en scène: Max Webster •
Chorégraphe:
Avec:
Commentaire: Lolita Chakrabarti's new stage adaptation of Yann Martel's Life of Pi is set to transfer tot he West End following a critically and commercially successful world premiere in Sheffield. (plus)
Presse:
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Musical
Original
41) 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
40) Leopoldstadt (Original)
Joué durant 4 mois
Première preview: 25 January 2020
Première: 12 February 2020
Dernière: 13 January 2020
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Divers •
Metteur en scène: Patrick Marber •
Chorégraphe:
Avec: Sebastian Armesto, Jenna Augen, Rhys Bailey, Joe Coen, Mark Edel-Hunt, Clara Francis, Ilan Galkoff, Caroline Gruber, Sam Hoare, Natalie Law, Noof McEwan, Dorothea Myer-Bennett, Jake Neads, Aaron Neil, Alexander Newland, Yasmin Paige, Adrian Scarborough, Griffin Stevens, Ed Stoppard, Luke Thallon, Eleanor Wyld, Alexis Zegerman, Faye Castelow, Felicity Davidson, Avye Leventis, Sadie Shimmin, Toby Cohen, Zachary Cohen, Olivia Festinger, Tamar Laniado, Maya Larholm, Daniel Lawson, Louis Levy, Libby Lewis, Jack Meredith, Chloe Raphael, Beatrice Rapstone, Montague Rapstone, Jarlan Bogolubov, Ramsay Robertson and Joshua Schneider.
Commentaire: A brand new Tom Stoppard play titled Leopoldstadt, which is described as 'likely his most personal play'.
It will be Stoppard's first new play in almost five years, when The Hard Problem premiered at the National Theatre. (plus)
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Musical
Revival
39) Curtains (Revival)
Joué durant 4 semaines
Première preview: 13 December 2019
Première: 13 December 2019
Dernière: 11 January 2020
Compositeur: John Kander •
Parolier: Fred Ebb •
Libettiste: Ruppert Holmes •
Metteur en scène: Paul Foster •
Chorégraphe:
Avec: Jason Manford, Carley Stenson, Andy Coxon, Rebecca Lock, Samuel Holmes, Leah Barbara West, Alan Burkitt, Martin Callaghan, Emma Caffrey, Nia Jermin, Adam Rhys-Charles, Mark Sangster, Minal Patel, Kate Ivory Jordan, Charlie Johnson, Gleanne Purcell-Brown, Thomas-Lee Kidd, Samuel John-Humphreys, J.R. Ballentyne, Ore Oduba (from 6th January 2020).
Commentaire: The show first opened on Broadway in 2007, and was first seen in London in 2012 at the Landor Theatre in Clapham. It will get its West End premiere in December 2019. (plus)
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Théâtre
Original
38) Man In The White Suit (The) (Original)
Joué durant 2 mois
Première preview: 27 September 2019
Première: 08 October 2019
Dernière: 07 December 2019
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Divers •
Metteur en scène: Sean Foley •
Chorégraphe:
Avec: Stephen Mangan, Kara Tointon, Sue Johnston, Richard Cordery, Richard Durden, Delroy Atkinson, Katie Bernstein, Ben Deery, Matthew Durkan, Rina Fatania, Oliver Kaderbhai, Eugene McCoy, Elliott Rennie and Katherine Toy.
Commentaire: A brand new stage adaptation of the classic 1950s film The Man in the White Suit, adapted and directed by Sean Foley, receiving its world premiere at the Wyndham’s Theatre. (plus)
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Théâtre
37) Life I Lead (The) ()
Joué durant
Première preview: 16 September 2019
Première: 16 September 2019
Dernière: 21 September 2019
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Divers •
Metteur en scène: Selina Cadell • Didi Hopkins •
Chorégraphe:
Avec: Miles Jupp
Commentaire:
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Théâtre
36) Fleabag ()
Joué durant 2 semaines
Première preview: 20 August 2019
Première: 28 August 2019
Dernière: 14 September 2019
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Divers •
Metteur en scène: Vicki Jones •
Chorégraphe:
Avec: Phoebe Waller-Bridge
Commentaire: Following a sold-out run in New York, Fleabag, Phoebe Waller-Bridge's award-winning comedic play, directed by Vicky Jones, comes home to London for 30 performances only from 20th August. (plus)
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Théâtre
35) Starry Messenger (The) ()
Joué durant 2 mois 1 semaine
Première preview: 16 May 2019
Première: 29 May 2019
Dernière: 10 August 2019
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Divers •
Metteur en scène: Sam Yates •
Chorégraphe:
Avec: Matthew Broderick, Elizabeth McGovern, Helen Barford, Edward Wolstenholme, Jim Norton, Rosalind Eleazar, Joplin Sibtain, Jenny Galloway, Sinead Matthews, Sid Sagar, Greg Baxter, Kerry Bennett
Commentaire:
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Théâtre
Revival
34) Price (The) (Revival)
Joué durant 2 mois 1 semaine
Première preview: 05 February 2019
Première: 11 February 2019
Dernière: 24 April 2019
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Divers •
Metteur en scène: Jonathan Church •
Chorégraphe:
Avec: David Suchet (Gregory Solomon), Brendan Coyle (Victor Franz), Adrian Lukis, Sara Stewart.
Commentaire:
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Théâtre
Revival
33) ** Hors DB Theatre (Revival)
Joué durant
Première preview: 07 January 2019
Première: 14 January 2019
Dernière: 19 January 2019
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Divers •
Metteur en scène: Sean Foley •
Chorégraphe:
Avec:
Commentaire: The critically acclaimed, award-winning comedian and actor Catherine Tate, will bring THE CATHERINE TATE SHOW - LIVE to London's Wyndham's Theatre. (plus)
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Théâtre
Revival
32) Bill Bailey - Larks in Transit (Revival)
Joué durant 1 mois
Première preview: 03 December 2018
Première: 03 December 2018
Dernière: 05 January 2019
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Divers •
Metteur en scène:
Chorégraphe:
Avec:
Commentaire: British Comedy Award winner Bill has enjoyed success on the live stage for many years. In 2001 he took his show Bewilderness to New York for an eight week run at the Westbeth Theatre. The New York Times wrote of him, "Bill is an unalloyed pleasure, a treat for the funny bone, the brain and the ear" and The Telegraph pronounced him "a hobbit with a wicked sense of humour". In 2004 he performed his show Part Troll at over fifty venues around the UK, culminating in an extended run at London's Wyndhams Theatre. In 2007 he embarked on a sold-out UK arena tour with his audio-visual, comedic extravaganza, Tinselworm. He took the show down under during the summer of 2008, touring Australia and New Zealand, before returning to London in December 2008 for a ten week run of the show at The Gielgud Theatre. The summer of 2009 saw Bill tour the UK once again with his live show, Bill Bailey Live. Last autumn, following his performances at London's Royal Albert Hall and the resulting critically acclaimed BBC2 television broadcast, Bill enjoyed a very successful UK tour of his musical comedy extravaganza, Bill Bailey's Remarkable Guide to the Orchestra. Performing alongside some of the UK's finest orchestras, the show provided fans with the opportunity to see Bill's surreal comic and musical imagination at its best and was described by The Telegraph as "a glorious achievement," The Guardian as "sublime hilarity" and Stephen Fry as "wonderfully enjoyable... like driving a Rolls-Royce off-road." Larks in Transit is a compendium of travellers' tales and the general shenanigans of twenty years as a travelling comedian. With musical virtuosity, surreal tangents and trademark intelligence, he tackles politics, philosophy, the pursuit of happiness, death metal, ringtones... and an excruciating encounter with Paul McCartney. Two decades of life as a comic filtered through what the Daily Telegraph calls 'the brainiest comic of his generation'.. (plus)
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Théâtre
Original London
31) Height of the Storm (The) (Original London)
Joué durant 1 mois 3 semaines
Première preview: 01 October 2018
Première: 09 October 2018
Dernière: 01 December 2018
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Divers •
Metteur en scène: Jonathan Kent •
Chorégraphe:
Avec: Jonathan Pryce (Andre), Eileen Atkins (Dame - Madeline).
Commentaire:
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Théâtre
Revival
30) Red (Revival)
Joué durant 2 mois 2 semaines
Première preview: 04 May 2018
Première: 15 May 2018
Dernière: 28 July 2018
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Divers •
Metteur en scène: Michael Grandage •
Chorégraphe:
Avec: Alfred Molina, Alfred Enoch
Commentaire: Alfred Molina reprises his role from the original Donmar production, for which he received a Tony Award nomination for Best Actor in a Play after the show’s New York transfer. Molina is best known for his roles in films such as Raiders of the Lost Ark, The Da Vinci Code and Chocolat. His stage roles include the original Broadway production of Art, and a revival of Fiddler on the Roof.
Alfred Enoch is known for playing the role of Dean Thomas in the Harry Potter film series, as well as a role in the NBC series How to Get Away With Murder. Enoch’s previous screen credits include Coriolanus at the Donmar Warehouse, Antigone at the National Theatre and Happy New at the Old Red Lion. (plus)
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Théâtre
Revival
29) Long Day's Journey Into Night (Revival)
Joué durant 2 mois
Première preview: 18 January 2018
Première: 06 February 2018
Dernière: 08 April 2018
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Divers •
Metteur en scène: Richard Eyre •
Chorégraphe:
Avec: Jeremy Irons, Lesley Manville
Commentaire: The new production from the Bristol Old Vic in 2016 (plus)
Presse:
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Théâtre
Original London
28) Heisenberg: The Uncertainty Principle (Original London)
Joué durant 2 mois 4 semaines
Première preview: 03 October 2017
Première: 09 October 2017
Dernière: 06 January 2018
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Divers •
Metteur en scène: Marianne Elliott •
Chorégraphe:
Avec: Kenneth Cranham, Anne-Marie Duff
Commentaire: After acclaimed New York engagements off-Broadway in 2015 and on Broadway in 2016, Tony and Olivier Award-winning playwright Simon Stephens' compelling two-hander drama Heisenberg is set to make its West End premiere at the Wyndham's Theatre in October 2017. (plus)
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Musical
Original Europe
27) Lady Day at Emerson's Bar and Grill (Original Europe)
Joué durant 2 mois
Première preview: 25 June 2017
Première: 05 July 2017
Dernière: 03 September 2017
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: Lanie Robertson •
Metteur en scène: Lonny Price •
Chorégraphe:
Avec: Audra McDonald (Billie Holliday)
Commentaire:
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Théâtre
Revival
26) Don Juan in Soho (Revival)
Joué durant 2 mois 2 semaines
Première preview: 17 March 2017
Première: 28 March 2017
Dernière: 10 June 2017
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Divers •
Metteur en scène:
Chorégraphe:
Avec: David Tennant, Adrian Scarborough (Stan), Gawn Grainger (Louis), Theo Barklem-Biggs (Pete), Mark Ebulué (Aloysius), Mark Extance (ensemble), David Jonsson (Col), Dominique Moore (Lottie), Emma Naomi (ensemble), Alice Orr-Ewing (Mattie and Ruby), Himesh Patel (Vagabond), Adrian Richards (ensemble), William Spray (ensemble), Danielle Vitalis (Elvira) and Eleanor Wyld (Dalia)
Commentaire:
Presse: "Tennant brings a beguiling, fleet-footed charm to Molière’s libertine, reinvented as DJ in Patrick Marber’s subversive update." Michael Billington for The Guardian
"A red-light from me, then, for this flaccid affair although, for some, the temptation to ogle Tennant in the flesh will prove too great to resist." Dominic Cavendish for The Telegraph
"The writing never feels fierce enough...but there are too many moments when the play lacks bite and seems crude or even a bit dull." Henry Hitchings for The Evening Standard
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Théâtre
Original London
25) Kite Runner (The) (Original London)
Joué durant 2 mois
Première preview: 21 December 2016
Première: 10 January 2017
Dernière: 11 March 2017
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Divers •
Metteur en scène: Giles Croft •
Chorégraphe:
Avec: Ben Turner
Commentaire: Based on Khaled Hosseini’s international best-selling novel, this powerful story has now been adapted into a stunning new stage production. A haunting tale of friendship which spans cultures and continents, it follows one man’s journey to confront his past and find redemption.
Having mesmerized audiences across the country, this production comes to the Wyndham’s Theatre for a strictly limited season from 21 December. (plus)
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Théâtre
Revival
24) No Man's Land (Revival)
Joué durant 2 mois 4 semaines
Première preview: 08 September 2016
Première: 20 September 2016
Dernière: 17 December 2016
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Divers •
Metteur en scène: Sean Mathias •
Chorégraphe:
Avec: Ian McKellen (Spooner), Patrick Stewart (Hirst), Owen Teale (Briggs), Damien Molony (Foster)
Commentaire: Following their hit run on Broadway, Ian McKellen and Patrick Stewart return to the UK stage in Sean Mathias’ acclaimed production of No Man’s Land, one of the most brilliantly entertaining plays by Nobel Prize laureate Harold Pinter. (plus)
Presse: "All four actors on stage...display a deft sense of how to knock every utterance for six...even if, half the time, it’s as if the aim is to leave us stumped." Dominic Cavendish for The Telegraph
"This is not only the most poetic of Pinter’s plays, it is also one that offers great opportunities for actors which Stewart and McKellen richly seize." Michael Billington for The Guardian
"Mathias’s staging manages to be the funniest account of the play I have seen without underselling its scariness, mystery or bleak vision of the twilight zone between life and death that is old age." Paul Taylor for The Independent
"No Man’s Land remains a play packed with tension and conflict." Benedict Nightingale for The Evening Standard
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Théâtre
Original London
23) Truth (The) (Original London)
Joué durant 2 mois 1 semaine
Première preview: 22 June 2016
Première: 22 June 2016
Dernière: 03 September 2016
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Divers •
Metteur en scène: Lindsay Posner •
Chorégraphe:
Avec: Tanya Franks, Alexander Hanson, Frances O'Connor, Tanya Franks, Robert Portal
Commentaire: Following last year’s phenomenal success of The Father by Florian Zeller (Theatre Royal Bath, Tricycle, Wyndham’s and Duke of York’s from February), the Chocolate Factory in association with Theatre Royal Bath is delighted to present the UK premiere of Zeller’s biting new play The Truth. (plus)
Presse: "The Truth moves with the fluency of a dance that keeps turning on its own heel. It is an entertaining, unsettling, must-see show – there are depths to its shallowness." Kate Kellaway for The Guardian
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Théâtre
West End Transfer
22) People, Places and Things (West End Transfer)
Joué durant 2 mois 3 semaines
Première preview: 15 March 2016
Première: 23 March 2016
Dernière: 18 June 2016
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Divers •
Metteur en scène: Jeremy Herrin •
Chorégraphe:
Avec: Denise Gough (Emma)
Commentaire: Transfert depuis le National Theatre. (plus)
Presse:
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Théâtre
West End Transfer
21) Hangmen (West End Transfer)
Joué durant 2 mois 4 semaines
Première preview: 01 December 2015
Première: 07 December 2015
Dernière: 05 March 2016
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Divers •
Metteur en scène: Matthew Dunster •
Chorégraphe:
Avec: Josef Davies, James Dryden, Johnny Flynn, Tony Hirst, John Hodgkinson, Bronwyn James, David Morrissey, Andy Nyman, Craig Parkinson, Ryan Pope, Sally Rogers and Simon Rouse.
Commentaire: Productions and Royal Court Theatre Productions (plus)
Presse: Les critiques sont très très bonnes:
"The subject matter is grim, yet Hangmen is consistently entertaining and, somehow amid the frantic action, gives you time to think about the big issues." Ben Lawrence for The Telegraph
"McDonagh’s exquisite comic timing sparkles everywhere here, in each line and half-line, every beat and riposte. It’s writing of the highest order..." Fiona Mountford for The Evening Standard
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Théâtre
Original London
20) Father (The) (Original London)
Joué durant 1 mois 2 semaines
Première preview: 30 September 2015
Première: 05 October 2015
Dernière: 21 November 2015
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Divers •
Metteur en scène: James MacDonald •
Chorégraphe:
Avec: Kenneth Cranham (Andre), Claire Skinner (Anne), Rebecca Charles
Commentaire:
Presse: "Zeller’s play is not a study or a discussion of Alzheimer’s. It is more profoundly theatrical. It plunges the audience into the experience of dementia. It throws the switches in your brain." Susannah Clapp for The Guardian
"I’d say it was “unforgettable” if this unqualified triumph didn’t load that superlative with long-lingering, chilling doubt." Dominic Cavendish for The Telegraph
"I found it all far more frustrating than affecting." Fiona Mountford for The Evening Standard
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Théâtre
West End Transfer
19) King Charles III (West End Transfer)
Joué durant 4 mois 3 semaines
Première preview: 02 September 2014
Première: 11 September 2014
Dernière: 31 January 2015
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Divers •
Metteur en scène: Rupert Goold •
Chorégraphe:
Avec:
Commentaire:
Presse: "Tim Pigott-Smith gives the performance of his distinguished career as Charles. He eschews mere impersonation to convey, in the first half, a tormented idealist struggling to come to terms with his new role. He then grows into a movingly tragic figure in his baffled rage at being outmanoeuvred by members of his own family and his realisation of the hollowness of the throne." Michael Billington for The Guardian
"There are confident performances all round in Rupert Goold’s stylish production, not least from James's dynamically front-foot PM. This is undoubtedly one of the most stimulating plays of the year." Fiona Mountford for The Evening Standard
"Tim Piggott-Smith gives the performance of his career as Charles and is supported by a sterling cast who all manage to create convincing simulacra of the Royal Family without lapsing into caricature." Neil Norman for The Daily Express
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Théâtre
Revival
18) Oncle Vania (Revival)
Joué durant 1 semaine
Première preview: 23 April 2014
Première: 24 April 2014
Dernière: 03 May 2014
Compositeur:
Parolier:
Libettiste: Anton Chekhov •
Metteur en scène: Andrei Konchalovsky •
Chorégraphe:
Avec: Repertoire cast: Aleksandr Domogarov, Julia Vysotskaya, Pavel Derevyanko, Natalia Vdovina, Irina Kartasheva, Aleksandr Bobrovsky, Larisa Kuznetsova, Galina Bob, Vitaly Kistchenko, Anatoly Grishin, Vladas Bagdonas
Commentaire: Joué en russe avec des sous-titres anglais.
En alternance avec "Les Trois Sœurs" (plus)
Presse:
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Théâtre
Revival
17) Trois Sœurs (Les) (Revival)
Joué durant 1 semaine
Première preview: 24 April 2014
Première: 24 April 2014
Dernière: 03 May 2014
Compositeur:
Parolier:
Libettiste: Anton Chekhov •
Metteur en scène: Andrei Konchalovsky •
Chorégraphe:
Avec: Repertoire cast: Aleksandr Domogarov, Julia Vysotskaya, Pavel Derevyanko, Natalia Vdovina, Irina Kartasheva, Aleksandr Bobrovsky, Larisa Kuznetsova, Galina Bob, Vitaly Kistchenko, Anatoly Grishin, Vladas Bagdonas
Commentaire: Joué en russe avec des sous-titres anglais.
En alternance avec "Les Trois Sœurs" (plus)
Presse:
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Théâtre
West End Transfer
16) Weir (The) (West End Transfer)
Joué durant 2 mois 3 semaines
Première preview: 16 January 2014
Première: 22 January 2014
Dernière: 19 April 2014
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Divers •
Metteur en scène: Josie Rourke •
Chorégraphe:
Avec: Risteard Cooper (Finbar), Brian Cox (Jack), Dervla Kirwan (Valerie), Peter McDonald (Brendan), Ardal O’Hanlon (Jim)
Commentaire: Following the critically acclaimed sell-out run at the Donmar Warehouse, The Weir will transfer to Wyndham’s Theatre for twelve weeks only, from 16 January 2014. (plus)
Presse:
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Revival
15) Barking in Essex (Revival)
Joué durant 3 mois 2 semaines
Première preview: 06 September 2013
Première: 16 September 2013
Dernière: 04 January 2014
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Divers •
Metteur en scène: Harry Burton •
Chorégraphe:
Avec: Lee Evans (Darnley), Sheila Hancock (Emmie), Keeley Hawes (Chrissie), Karl Johnson (Rocco), Montserrat Lombard (Allegra)
Commentaire:
Presse: "As a piece of black comedy, it is neither sufficiently dark nor consistently funny.. "
Michael Billington for The Guardian
"Exton's stop-go plotting and the sagging patches in Harry Burton's production prevent the material from developing any comic momentum. "
Paul Taylor for The Independent
"I laughed a lot during this play and so did my wife who is usually more prudish than I am. In its black-hearted way, Barking in Essex is often wonderfully funny....This is certainly not a show that will appeal to everyone, but those who like their comedy black, blue and raucous will have a ball. "
Charles Spencer for The Daily Telegraph
"Barking in Essex is a comedy that knows it's brash and unsubtle. But it also strikes me as desperately unfunny...a terrible waste of a strong cast"
Henry Hitchings for The Evening Standard
"This not unamusing play may appeal to office workers looking for an unchallenging night’s entertainment."
Quentin Letts for The Daily Mail
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Musical
Reprise
14) Dreamboats and Petticoats (Reprise)
Joué durant 3 mois
Première preview: 16 October 2012
Première: 16 October 2012
Dernière: 19 January 2013
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: Laurence Marks • Maurice Gran •
Metteur en scène: Bob Tomson •
Chorégraphe: Carole Todd •
Avec:
Commentaire: This show was inspired by the unexpectedly huge sales of a CD issued by Universal Music, aimed at the nostalgia market. The first “Dreamboats and Petticoats” CD sold over two million copies and led to the creation of a stage show which began a five month UK tour in Bromley in February 2009. The success of the tour led to its West End debut, as a seven-week filler. After a three month gap, the show was re-created at the Playhouse Theatre in January 2010 and is still running at the start of 2012. At the same time a second UK tour played throughout 2010, much of 2011 and is planned to run through 2012. (plus)
Presse: LYN GARDNER for THE GUARDIAN says, " Inoffensive and as squeaky clean as a toothpaste advert, this musical trip down memory lane was inspired by a compilation album of early 1960s hits...Dreamboats and Petticoats is not bad, although it tails off lamely in the second half, but it is not very good either."
FIONA MOUNTFORD for THE EVENING STANDARD says, "peppy production ."
CHARLES SPENCER for THE DAILY TELEGRAPH says, "I confess I loved every moment of this show, hackneyed though the script by TV sitcom writers Laurence Marks and Maurice Gran often is. Bob Tomson’s lively production has great heart, following a group of teenagers at a youth club as they bicker, feud, fall in and out of love and try – and fail – to become pop stars."
VALERIE POTTER for THE LONDON LITE says, "Boasts toe-tapping tunes aplenty, yet ultimately buckles under their weight."
SAM MARLOWE for THE TIMES says, "Although Bob Tomson’s direction is mercifully brisk and the company is well-drilled, there’s a laziness to the concept and a cheapness to its execution that no amount of energetic gyration and forced, cheesy cheeriness can disguise."
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Original
13) King's Speech (The) (Original)
Joué durant 1 mois 2 semaines
Première preview: 22 March 2012
Première: 27 March 2012
Dernière: 12 May 2012
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Divers •
Metteur en scène: Adrian Noble •
Chorégraphe:
Avec: Charles Edwards (King George VI), Jonathan Hyde ( Lionel Logue), Emma Fielding (Queen Elizabeth), Ian McNeice (Winston Churchill), Michael Feast (Cosmo Lang), Joss Ackland (King George V), Charlotte Randle (Myrtle Logue), David Killick (Stanley Baldwin), Daniel Betts (King Edward VIII)
Commentaire:
Presse: "This is a slick, appealing package. ."
Henry Hitchings for The Evening Standard
Reviews cuttings from its pre-West End UK tour...
"Enjoyable play..."
Michael Billington for the Guardian
"Elegant, lucid and witty."
Charles Spencer for the Daily Telegraph
"Everybody has seen the film and the performances of Colin Firth...So what is the point... I arrived thinking that this was a redundant exercise and leave with the thought that good material responds well to different approaches."
Paul Taylor for the Independent
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Revival
12) Driving Miss Daisy (Revival)
Joué durant 2 mois 1 semaine
Première preview: 26 September 2011
Première: 05 October 2011
Dernière: 17 December 2011
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Divers •
Metteur en scène: David Esbjornson •
Chorégraphe:
Avec: Vanessa Redgrave (Daisy Werthan), James Earl Jones (Hoke Coleburn), Boyd Gaines (Boolie Werthan)
Commentaire:
Presse: "I was amused, gripped and often deeply moved by the piece." Charles Spencer for The Daily Telegraph
"Redgrave evokes beautifully the gradual declension into old age." Michael Billington for the Guardian
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West End Transfer
11) Clybourne Park (West End Transfer)
Joué durant 2 mois 3 semaines
Première preview: 28 January 2011
Première: 08 February 2011
Dernière: 07 May 2011
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Divers •
Metteur en scène: Dominic Cooke •
Chorégraphe:
Avec: Stuart McQuarrie (Russ / Dan ), Stephen Campbell Moore (Karl / Steve ), Lorna Brown (Francine/Lena), Sarah Goldberg (Betsy / Lindsey), Lucian Msamati (Albert / Kevin), Sam Spruell (Jim / Tom) , Sophie Thompson (Betsy / Lindsey), Michael Goldsmith (Kenneth)
Commentaire: A Transfer from the Royal Court Downstairs (plus)
Presse:
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Musical
Original London
10) Avenue Q (Original London)
Joué durant 7 mois 2 semaines
Nb de représentations: 219 représentations
Première preview: 19 March 2010
Première: 19 March 2010
Dernière: 30 October 2010
Fait partie de: London Run
Compositeur: Jeff Marx • Robert Lopez •
Parolier: Jeff Marx • Robert Lopez •
Libettiste: Jeff Whitty •
Metteur en scène: Tom Moore •
Chorégraphe: Ken Roberson •
Avec:
Commentaire:
Presse:
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Parolier: Jeff Marx • Robert Lopez •
Libettiste: Jeff Whitty •
Metteur en scène: Tom Moore •
Chorégraphe: Ken Roberson •
Avec:
Théâtre
9) History Boys (The) ()
Joué durant 4 mois 1 semaine
Première preview: 20 December 2007
Première: 20 December 2007
Dernière: 26 April 2008
Compositeur:
Parolier:
Libettiste: Alan Bennett •
Metteur en scène: Nicholas Hytner •
Chorégraphe: Aucun •
Avec:
Commentaire: Best Play - Evening Standard Award & Critics' Circle Award / Best New Play - Laurence Olivier Award / Best Actor - Richard Griffiths - Evening Standard Award, Critics' Circle Award and Laurence Olivier Award / Samuel Barnett won Best Newcomer & Best Supporting Actor in a play at the Whatsonstage.com Theatregoers Choice Awards / Best Director - Nicholas Hytner - Laurence Olivier Award
Plusieurs séries de représentations:
> Lyttelton (8/5/2004 - 26/04/2005) 222 représ devant 197.605 spect
> UK Tour 1 (23/9/2005 - 26/11/2005)
> Lyttelton (2/12/2005 - 1/2/2006) 99 représ devant 52.212 spect
> UK Tour 2 (31/8/2006 - 25/11/2006)
> Wyndham's Theatre (21/12/2006 - 14/7/2007)
> UK Tour 3 (6/9/2007 - 17/11/2007)
> Wyndham's Theatre (20/12/2007 - 26/4/2008) (plus)
Presse: PAUL TAYLOR for THE INDEPENDENT says, "The play is a delight." MICHAEL BILLINGTON for THE GUARDIAN says,"A superb, life-enhancing play." "NICHOLAS DE JONGH for THE EVENING STANDARD says, "Comic ramble fails to make the top grade." CHARLES SPENCER for THE DAILY TELEGRAPH says, "This is a wonderful evening, as heart-catching as it is hilarious." BENEDICT NIGHTINGALE for THE TIMES says, "Curious, questing, intelligent, witty and, at times, hilarious." ALASTAIR MACAULAY for THE FINANCIAL TIMES says, "Brilliantly funny, with lines that we will, I hope, quote for years and several show-stopping vignettes."
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Théâtre
Revival
8) History Boys (The) (Revival)
Joué durant 3 mois 1 semaine
Première preview: 21 December 2006
Première: 03 January 2007
Dernière: 14 July 2007
Compositeur:
Parolier:
Libettiste: Alan Bennett •
Metteur en scène: Nicholas Hytner •
Chorégraphe: Aucun •
Avec: Stephen Moore (Hector), Isla Blair (Mrs Lintott), William Chubb (Headmaster), Orlando Wells (Irwin), Owain Arthur (Dakin), Philip Correia (Rudge), Marc Elliott, Thomas Morrison (Scripps), Akemnji Ndifornyen, David Poynor and Steven Webb (Posner); Ben Allen, Tina Gray, Derek Howard, Duncan Patrick, Stephen Uppal.
Review
Commentaire: Best Play - Evening Standard Award & Critics' Circle Award / Best New Play - Laurence Olivier Award / Best Actor - Richard Griffiths - Evening Standard Award, Critics' Circle Award and Laurence Olivier Award / Samuel Barnett won Best Newcomer & Best Supporting Actor in a play at the Whatsonstage.com Theatregoers Choice Awards / Best Director - Nicholas Hytner - Laurence Olivier Award
Plusieurs séries de représentations:
> Lyttelton (8/5/2004 - 26/04/2005) 222 représ devant 197.605 spect
> UK Tour 1 (23/9/2005 - 26/11/2005)
> Lyttelton (2/12/2005 - 1/2/2006) 99 représ devant 52.212 spect
> UK Tour 2 (31/8/2006 - 25/11/2006)
> Wyndham's Theatre (21/12/2006 - 14/7/2007)
> UK Tour 3 (6/9/2007 - 17/11/2007)
> Wyndham's Theatre (20/12/2007 - 26/4/2008) (plus)
Presse: PAUL TAYLOR for THE INDEPENDENT says, "The play is a delight." MICHAEL BILLINGTON for THE GUARDIAN says,"A superb, life-enhancing play." "NICHOLAS DE JONGH for THE EVENING STANDARD says, "Comic ramble fails to make the top grade." CHARLES SPENCER for THE DAILY TELEGRAPH says, "This is a wonderful evening, as heart-catching as it is hilarious." BENEDICT NIGHTINGALE for THE TIMES says, "Curious, questing, intelligent, witty and, at times, hilarious." ALASTAIR MACAULAY for THE FINANCIAL TIMES says, "Brilliantly funny, with lines that we will, I hope, quote for years and several show-stopping vignettes."
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Revival
7) Sunday in the Park with George (Revival)
Joué durant 3 mois 1 semaine
Première preview: 13 May 2006
Première: 23 May 2006
Dernière: 02 September 2006
Compositeur: Stephen Sondheim •
Parolier: Stephen Sondheim •
Libettiste: James Lapine •
Metteur en scène: Sam Buntrock •
Chorégraphe:
Avec: Daniel Evans (George), Jenna Russell (Dot), Gay Soper, Joanne Redman, Simon Green, Liza Sadovy, Alasdair Harvey, Christopher Colley, Sarah French Ellis, Kaisa Hammarlund, Mark McKerracher
Commentaire: Fifteen years after its coolly received National Theatre premiere, this fringe production had almost all the critics reaching for their superlatives. With a small cast, a five-piece band and its ambitious production techniques and computer graphics, this show was visually and technically breathtaking. And with the brilliant central performances from Daniel Evans, Anna Jane Casey and Gay Soper it was hailed as unforgettable, with several critics deciding it was a Sondheim masterpiece.
Its major achievement seems to be welding the two separate acts together – earlier critics had claimed this was two separate shows, with no real link between the 1880s Paris of Seurat and the 1980s USA of his (fictional) grandson. The production transferred to Wyndhams Theatre in May 2006 and ran until September 2nd . It had the same principal cast, except Jenna Russell replaced Anna Jane Casey who was unavailable. It won five Olivier Awards, including Outstanding Musical Production, Best Actor in a Musical and Best Actress in a Musical. The production was re-created for a limited engagement on Broadway between January and June 2008, again with Daniel Evans and Jenna Russell. (plus)
Presse: NICHOLAS DE JONGH for THE EVENING STANDARD says, "Entrancing production ...enchanted evening that raises the status of the musical high." CHARLES SPENCER for THE DAILY TELEGRAPH says, "A masterpiece, one of the most daring, thrilling and, more surprisingly, moving musicals you are ever likely to encounter." SAM MARLOWE for THE TIMES says, "Exquisite production...the production is close to perfection"
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West End Transfer
6) Democracy (West End Transfer)
Joué durant 5 mois 3 semaines
Première preview: 16 April 2004
Première: 20 April 2004
Dernière: 09 October 2004
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Divers •
Metteur en scène: Michael Blakemore •
Chorégraphe:
Avec: Roger Allam (Willy Brandt); Conleth Hill (Gunter Guillaume), Simon Chandler (Horst Ehmke), Michael Simkins (Arno Kretschmaan), Nicholas Blane, Paul Broughton, Christopher Ettridge, Paul Gregory, Glyn Grain, David Ryall
Commentaire: Ce spectacle créé au Cottelsoe Theatredu NT en août 2003, est repris au Lyttelton Theatre du NT en février 2004 avant d'être ttransféré dans le West End, au Wyndham's Theatre en avril 2004, pendant 6 amois! (plus)
Presse: NICHOLAS DE JONGH for THE EVENING STANDARD says, "Rare brand of theatrical excitement...superlative performances.." PAUL TAYLOR for THE INDEPENDENT says, "Unmissable." LYN GARDNER for THE GUARDIAN says, "Not only the most intelligent and wry in London, it is also the most moving." CHARLES SPENCER for THE DAILY TELEGRAPH says, "The play grips throughout."BENEDICT NIGHTINGALE for THE TIMES says, "Roger Allam, who plays the Chancellor, we have an actor on the verge of greatness." ALASTAIR MACAULAY for THE FINANCIAL TIMES says, "Here is as complex, witty, intelligent a play as anything before the public today."
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Revival
5) Over my Shoulder (Revival)
Joué durant 1 semaine
Première preview: 27 October 2003
Première: 28 October 2003
Dernière: 08 November 2003
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Divers •
Metteur en scène: Stewart Nichols •
Chorégraphe: Stewart Nichols •
Avec: Anne Rogers (Jessie Matthews), Jo Gibb (Young Jessie), Abigail Langham (Rosie Matthews/Sheilah Graham), Oliver Thompsett (Fred Astaire/Harty Lytton), Gavin Lee (Sonnie Hale), Duncan Wisbey (C.B. Cochran/ Bing Crosby/Noel Coward), Ben Stock, Michael Cotton, Daniel Fine
Commentaire: This was a re-written and enlarged version of the show which had first been performed at the Jermyn Street Theatre in November 2001, and had been touring at various points throughout 2002. It had played a week at the Greenwich Theatre in May 2002 but now had the opportunity to come into the West End. Wyndham’s Theatre was suddenly empty due to the collapse of Michael Barrymore’s come-back show and this show was available to fill the gap. It was a strictly limited two week run. There was a certain nostalgia and theatrical history about this performance - Anne Rogers had first come to stardom exactly fifty years earlier at this very theatre (in “The Boy Friend”) (plus)
Presse:
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Musical
Original
4) Café Puccini (Original)
Joué durant 1 mois 1 semaine
Première preview: Inconnu
Première: 12 March 1986
Dernière: 19 April 1986
Compositeur: Giacomo Puccini •
Parolier:
Libettiste: Robin Ray •
Metteur en scène: Christopher Renshaw •
Chorégraphe:
Avec: Lewis Fiander (Puccini), Nicola McAuliffe, Charles West, Terence Hillyer, Jacinta Mulcahy, Maurice Clarke
Commentaire: Apart from Lewis Fiander as Puccini, all the other performers played several roles each and also sang a number of arias accompanied by a seven piece orchestra. They were actors, not opera singers, and the end results were a little worrying to most critics. No one was quite sure at whom this show was aimed: opera enthusiasts hated what was being done to the music, non-opera buffs resented the story being interrupted with disconnected arias. It closed within a month. (plus)
Presse:
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Musical
Original
3) Side by Side by Sondheim (Original)
Joué durant
Première preview: 07 July 1976
Première: 07 July 1976
Dernière: Inconnu
Fait partie de: London Run
Compositeur: Jule Styne • Leonard Bernstein • Richard Rodgers • Stephen Sondheim •
Parolier: Stephen Sondheim •
Libettiste: *** Divers •
Metteur en scène: Ned Sherrin •
Chorégraphe:
Avec: Millicent Martin, Julia McKenzie, David Kernan, Ned Sherrin [narrator]
Commentaire: Opened May 4, 1976 at the Mermaid Theatre, London Ran for 59 performances
Moved July 7, 1976 to the Wyndham's Theatre, London Ran for 518 performances
Moved October 3, 1977 to the Garrick Theatre, London Closed April 29, 1978; Ran for 229 performances (plus)
Presse:
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Parolier: Stephen Sondheim •
Libettiste: *** Divers •
Metteur en scène: Ned Sherrin •
Chorégraphe:
Avec: Millicent Martin, Julia McKenzie, David Kernan, Ned Sherrin [narrator]
Moved July 7, 1976 to the Wyndham's Theatre, London Ran for 518 performances
Moved October 3, 1977 to the Garrick Theatre, London Closed April 29, 1978; Ran for 229 performances (plus)
Musical
Original London
2) Godspell (Original London)
Joué durant
Première preview: 26 January 1972
Première: 26 January 1972
Dernière: Inconnu
Compositeur: Stephen Schwartz •
Parolier: Stephen Schwartz •
Libettiste:
Metteur en scène: Jean-Michel Tebelak •
Chorégraphe:
Avec: David Essex (Jesus), Jeremy Irons (Judas), Verity-Anne Meldrum, Marti Webb, Tony Jackson, Mandy More, Derek Parkyn, Tom Saffery, Gay Soper
Commentaire: With exactly the same theme as the contemporary “Jesus Christ Superstar”, this show aimed at absolute simplicity and a “Hippie”-feel as opposed to the heavy rock of JCS. Both achieved great success, but surprisingly “Godspell” attracted very little religious opposition whereas JCS received howls of protest. The show had transferred from the Roundhouse. (plus)
Presse:
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