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Musique: Andrew Lloyd Webber • Paroles: Charles Hart • Richard Stilgoe • Livret: Production originale: 18 versions mentionnées
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Résumé: L’action se situe à l’Opéra de Paris dans les années 1880. Quand la principale chanteuse de l’opéra Hannibal manque de se faire tuer (par un fantôme ?), on la remplace par Christine Daaé. Cette jeune chanteuse prend des cours avec le mystérieux "Ange de la Musique"…. Derrière ce nom se cache en fait le fantôme de l’Opéra, un génie, défiguré et féru de musique qui hante le palais Garnier. Ce compositeur trouve en Christine son inspiration et manipulera tous les acteurs de l’Opéra pour la mettre en valeur. Quand il s’aperçoit que Christine est éprise de Raoul, la fureur s’empare de lui : il leur déclare alors la guerre, kidnappe Christine et envisage le meurtre de Raoul.
Création: 9/10/1986 - Her Majesty's Theatre (Londres) - représ.
Musique: Andrew Lloyd Webber • Paroles: Charles Hart • Don Black • Livret: Andrew Lloyd Webber • Charles Hart • Don Black • Production originale: 15 versions mentionnées
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Cet audacieux et ambitieux opéra de chambre explore la cartographie du cœur humain, s’attardant sur les changements d'alliance de six amants à travers trois générations. Alex n’a que dix-sept quand l'amour transforme tout dans sa vie. Sa furtive liaison avec l’ambitieuse actrice Rose amorce une succession de liaisons amoureuses qui se prolonge à l'âge adulte. Alex perd Rose au détriment de son oncle George, qui l’épousera. Avec le temps, la maîtresse de George, la belle Giulietta, aura une aventure avec Rose, qui elle conservera son amant, Hugo. Comme un écho du caprice originel entre Rose et Alex, ce dernier aura une aventure avec la fille adolescente que Rose a eu avec son oncle vieillissant. Cette complexe ronde familiale est entraînée par une partition puissante et passionnée.
Genèse: Lloyd Webber was introduced to Aspects of Love in 1979, when he and Tim Rice were approached to write a few songs for a proposed film version. When nothing came of it, he suggested to Trevor Nunn that they collaborate on a stage adaptation. In 1983, they presented a cabaret of numbers they had written, but it was not until five years later that they tackled the project in earnest. For the finished project, Lloyd Webber used at least five of the tunes he had written for the 1986 one-act musical Cricket, which he had written with Tim Rice. ------ Extrait du programme de "Aspects of love": My first encounter with David Garnett’s Aspects of Love was in 1979. Tim Rice had been sent the book as a film was being planned to which we were possibly to contribute songs. Some time later, we felt it was an interesting subject for us to write, particularly as it was so different from Evita and I had just finished Tell Me On A Sunday, which was not so very far in scale from how I imagined Aspects. But a splendid and somewhat indulgent few days at Eugenie-les-Bains, chosen because we argued it was vaguely near Pau, bore little fruit. During the course of Cats rehearsals, I gave the book to Trevor Nunn, who was delighted with it. In 1983, we presented a “cabaret” of some songs we wrote together for a possible full-length musical. But these songs did not work either. I often feel that I was trying to impose a big, grandiose, romantic style onto the novel and in fact a fair amount of the music of the cabaret became The Phantom of the Opera. It was a little before the completion of Phantom that I realised that I wanted to change direction sharply in my next work. Thus I returned to the Garnett novel and in the company of Don Black, who I had worked with on Tell Me On A Sunday, and Charles Hart, with whom I was completing Phantom, we decided to try once more. Of the 1979 version, nothing survives in this score as nothing much was written anyway. Of the 1983 version, the most substantial melody to survive is the Pyrenees folk song. Two others also survive: George’s section about Rose in the Venice sequence and also in that sequence a motif I used as a television theme tune when I thought in 1984 Aspects was a subject I would not return to. All of the principal melodies and the great body of the work were written, therefore, during the course of my collaboration with Don and Charlie. To offer the work to Trevor Nunn to direct was obvious, since his interest in the book has been every bit as great as mine for almost as long. Indeed, in 1983 he took over the rights to develop the novel as a film. It is, perhaps, worth recording that Aspects very nearly did become the first musical of mine that was made as a film without a theatrical presentation, but Trevor Nunn convinced me otherwise and thus we are enjoying our first collaboration together about human beings. ----- The West End production, directed by Trevor Nunn and choreographed by Gillian Lynne, opened on April 17, 1989 at the Prince of Wales Theatre, where it ran for 1,325 performances. The original cast included Kevin Colson, Ann Crumb, Michael Ball, Kathleen Rowe McAllen and Diana Morrison. Sarah Brightman, Barrie Ingham, and Michael Praed were among the replacements later in the run. Roger Moore was due to star in the production but dropped out. The Broadway production, with the same creative team and many of the original London cast, opened on April 8, 1990 at the Broadhurst Theatre and closed on March 2, 1991 after 377 performances and 22 previews. Brightman and John Cullum joined the cast later in the run. The reviews were lackluster and New York Times critic Frank Rich wrote in a negative review "Whether Aspects of Love is a musical for people is another matter." When the musical closed, the entire $8 million investment was lost, which, according to the New York Times, made it "perhaps the greatest flop in Broadway history." In 1991, a "chamber" version of the show with Keith Michell was mounted in Canada. It subsequently toured in America and a similar production was staged in Australia. Aspects of Love was produced in Japan, the Philippines, Hungary, Finland, and Denmark as well. A new UK tour began on 31 August 2007, the first production in 15 years. Starring David Essex as George Dillingham, the production was directed by Nikolai Foster, and musically directed by Andrew J.Smith. The tour opened at the Theatre Royal, Newcastle upon Tyne, and toured for 36 weeks through 8 December 2007. Following the UK tour, the musical played a limited engagement at The Joburg Theatre in Johannesburg, South Africa from May 22 to June 28, 2009. The touring production was re-directed by Nikolai Foster and starred Samantha Peo, Robert Finlayson, Angela Kilian and Keith Smith. A London revival will run at the Menier Chocolate Factory from July 15 to September 11, 2010, directed by Trevor Nunn.
Résumé: ACTE I - 1947, France. Rose une jeune actrice rencontre un jeune fan anglais, Alex, qui l'emmène dans la villa de son onde à Pau, mais l'oncle, George, débarque avec sa maîtresse Giuletta. Rose tombe sous le charme de George et quitte Alex. Rose épouse ensuite George et donne naissance à jenny. ACTE II - 1962, Rose est devenue une actrice renommée et a un jeune amant Hugo. De retour à Pau, Rose retrouve Alex et en tombe amoureuse tout comme Jenny sa jeune fille. Alex a de la peine à choisir entre Rose son anden amour et Jenny, mais aux funérailles de George, Alex retrouve Giuletta et se découvrent une attirance commune.
Création: 17/4/1989 - Prince of Wales Theatre (Londres) - représ.
Musique: Howard Goodall • Paroles: Charles Hart • Livret: Charles Hart • Production originale: 4 versions mentionnées
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Résumé: It is All Fools’ Eve, a night when in the realms of love, the world can be turned upside-down and the lord of Misrule can take control. In the great hall at Nonesuch, home to the Hardcastle family (old campaigner Mr Dick Hardcastle, his formidable wife, Dorothy, their pretty and sharp-witted daughter Kate, her equally clever cousin, Constance Neville and the mischievous Tony Lumpkin, Dorothy’s son by her first marriage), the servants are preparing to receive two important guests: an old friend of Mr Hardcastle’s from his military days, Sir James Marlow, and travelling separately, his eligible son Charles. Both fathers are hoping that Charles will offer his hand in marriage to Kate and unite the two families forever. But unbeknown to them, Charles suffers from the mysterious affliction of “the Englishman’s Malady”. While gallivanting amongst working-class girls “who wait at tables”, he is a notorious womaniser, but when confronted with girls “of his own station”, he is plagued by an unaccountable reserve and modesty which turn him into a tongue-tied idiot. Charles has a problem: he is on his way to meet his intended, Miss Kate Hardcastle, but knows that the presence of polite female company will render him painfully shy and speechless. He is nonetheless riding to Nonesuch with his great friend George Hastings (who also happens to be courting Kate’s cousin Constance) and all goes well until they lose their way and stop at the “Fur and Feathers” to ask for directions…..
Création: 22/5/1998 - Gardner Center (Brighton) - représ.
Musique: Howard Goodall • Paroles: Charles Hart • Livret: William Shakespeare • Production originale: 1 version mentionnée
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the dreaming, based on A Midsummer Night’s Dream by William Shakespeare,was commissioned and premièred by the National Youth Music Theatre (NYMT).
Création: /8/2001 - Northcott Theatre (Exeter) - représ.
Musique: Howard Goodall • Paroles: Charles Hart • Livret: Gurinder Chadha • Production originale: 1 version mentionnée
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Bend It Like Beckham is the fantastically feel-good new modern British musical. A celebratory fusion of culture, music, emotions and fun, bursting with warmth, humour and heart. Jess needs extra time.
Genèse: The musical is based on the 2002 film Bend It Like Beckham. In late 2003, it was first revealed that the film's writer and director Gurinder Chadha planned to turn the film into a stage musical with the hope that it could be staged a year later. It was not until 2011, that further information emerged that a script had been completed and that they were looking for someone to compose the score, with workshops ultimately taking place in 2013 and early 2014. On 31 October 2014, the show was officially confirmed and it was announced that the show would premiere in London in May 2015, with tickets going on sale on 7 November 2014. The musical has a book by Gurinder Chadha and her husband Paul Mayeda Berges and is directed by writer Gurinder Chadha, with choreography by Aletta Collins, set design by Miriam Buether, costume design by Katrina Lindsay and lighting design by Neil Austin. The musical's score is composed by Howard Goodall, with lyrics by Charles Hart, orchestrations by Charles Hart and Kuljit Bhamra, sound design by Richard Brooker and musical direction by Nigel Lilley. The show's premiere production is expected to begin previews at the Phoenix Theatre in London, on 15 May 2015, with its official opening night coming on 24 June, initially booking until 11 July 2015. Prior to opening the booking period was extended to 24 October 2015. On 19 January 2015, full casting was announced with the news that Natalie Dew would play the role of Jess, with Lauren Samuels playing Jules, Jamie Campbell Bower as Joe, Ronni Ancona as Paula and Preeya Kalidas, who had previously played the role of Monica in the film as Pinky. On 13 March 2015, it was revealed that Ronni Ancona had withdrawn from the production during rehearsals due to family reasons and that Sophie-Louise Dann would replace her in the role of Paula.
Résumé: Jess needs extra time. She is facing the most important decision of her life; live up to family expectations of university, career and marriage, or follow in the footsteps of her hero David Beckham. When the talented teenage footballer is spotted playing football in Southall, a world of opportunities opens up before her. But as the day of her sister's traditional Indian wedding approaches, Jess needs to pick sides.
Création: 24/6/2015 - Phoenix Theatre (Londres) - représ.