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Musical
Musique: *** Divers • Paroles: *** Divers • Livret: Alistair Beaton • Ned Sherrin • Production originale: 1 version mentionnée
Dispo: Résumé Génèse Liste chansons
Genèse: This extravaganza boasted 22 six-foot tail showgirls, a total cast of 60, costumes worth over £1 million and purported to tell the tale of legendary Broadway impresario, Florenz Ziegfeld. Sadly, Ziegfeld himself was a man forever surrounded by dozens of beautiful girls yet unable to build a coherent relationship with any one of them; he was surrounded by millions of his own box-office dollars yet unable to spend it on anything but outer surfaces. He had hit shows but few of the writers and choreographers would stay with him, since he was an impresario with no real idea of anything beyond spectacle. Since the story of the man himself could not provide any “heart” or plot to the show, it came over as nothing more than a hugely over-the-top fashion parade from the museum of show business. Magnificent to look at - but nothing more. Within a few weeks of the opening, following a critical mauling and backstage rows, both the director and the leading man left the show. Tommy Steele was called in to re-structure the show and until a new lead was signed up, Marc Urqhart, the understudy, took over the title role. After some re-writing the role of Ziegfeld was played by Topol, but not even he could save this glitteringly expensive musical. It closed on October 1st with losses estimated at some £3 million…
Résumé: This is not so much a biography musical as a musical using all the hallmarks of a Ziegfeld revue - colourful costumes, beautiful girls, spectacular scenery and a melodious score from musical numbers by masters of the genre.
Création: 26/4/1988 - Palladium Theatre (Londres) - représ.
Musical
Musique: Richard Blackford • Paroles: Alistair Beaton • Maya Angelou • Livret: Lonnie Elder • Richard Nelson • Production originale: 1 version mentionnée
Dispo: Résumé Génèse Liste chansons
Genèse: This was a deeply troubled show. Before the opening night writers, directors, a producer, a leading actor had all either walked out or been sacked following rows over racial politics, money or artistic content. Maya Angelou wanted her name removed from the credits saying “it takes a black man to write about a black man and there hasn’t been a single black man in the writing of this show”. Martin Luther King’s widow, Coretta, initially had strong objections to the show and attempted to ban the impersonation of herself. Once it had opened, the show was criticised for its lack of drama and character. The book and the production itself were described as “an insignificant offering. . . of such banality it is a crime against humanity... melodramatic Jim Crowism... with little dramatic flair and less depth.” It closed after six weeks with losses of around £3 million.
Résumé: This show skims through the highlights in Martin Luther King’s life, establishing the romantic hold between King and his wife, and dealing with the alleged infidelities with which J. Edgar Hoover tried to smear King, and the defection of one of his trusted disciples to form the Black Power movement. A subplot saw a redneck garage owner, Billy, torn between his friendship with his black mechanic, George, and his pack-loyalty i H „ to his bigoted brother and Klansmen friends.
Création: 7/4/1990 - Piccadilly Theatre (Londres) - représ.