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Version 1

Beautiful and Damned (2004-05-Lyric Theatre-London)

Type de série: Original
Théâtre: Lyric Theatre (Londres - Angleterre)

Durée : 3 mois
Nombre :
Première Preview : Wednesday 28 April 2004
Première : Monday 10 May 2004
Dernière : Saturday 14 August 2004
Mise en scène : Craig Revel Horwood
Chorégraphie : Craig Revel Horwood
Producteur :
Avec : Avec: Michael Praed (F Scott Fitzgerald), Helen Anker (Zelda Fitzgerald), David Burt (Judge Sayre), Susannah Fellows (Minnie Sayre), Phillip Aiden, Valerie Cutko, Heather Douglas, Candice Evans, Nicola Filshie, Katie Foster-Barnes, Loren Geeting, Jo Gibb, Jolyon James, Jacqui Jameson, Jane Lucas, Amber Neale, Stuart Nurse, Jake Samuels, Craig Scott, Djalenga Scott, Spencer Stafford, Ben Tribe
Commentaires : Using the title of F. Scott Fitzgerald’s second novel, this was based on the true life story of Scott and Zelda. It was an expensive production with a lavish water fountain effect at the end of Act One. The critical reaction was extremely damning - “this calamitous enterprise resembles a slow motion car crash” - dull songs and an extremely dull book was the general verdict.
Presse : Très mauvaise…. ROBERT HANKS for THE INDEPENDENT says, "Fitzgerald musical not beautiful- and must surely be damned." FIONA MOUNTFORD for THE EVENING STANDARD says, "Enjoyable"; LYNN GARDNER for THE GUARDIAN says, "Making the roaring 20s seem like the boring 20s." CHARLES SPENCER for THE DAILY TELEGRAPH says, "Beautiful this show certainly isn't." SARAH HEMMING for THE FINANCIAL TIMES says, "A boring evening." IAN JOHNS for THE TIMES says, "Has all the zest of flat champagne."

Version 2

Calamity Jane (2003-06-Shaftesbury Theatre-Londres)

Type de série: Revival
Théâtre: Shaftesbury Theatre (Londres - Angleterre)

Durée : 2 mois 3 semaines
Nombre :
Première Preview : Thursday 12 June 2003
Première : Thursday 26 June 2003
Dernière : Saturday 20 September 2003
Mise en scène : Ed Curtis
Chorégraphie : Craig Revel Horwood
Producteur :
Avec : Cast: Toyah Wilcox (Calamity Jane), Michael Cornish (Wild Bill Hickok), Garry Kilby (Lieutenant Danny Martin), Emma Dodd (Adelaide Adams), Kellie Ryan (Katie Brown), Phil Ormerod (Francis Fryer), Duncan Smith (Henry Miller)
Commentaires : This was a touring production which had originated at Northampton Theatre, and had been on the road for some nine months before coming into London.
During its tour Toyah Wilcox caused some disappointment to her fans and discontent among some provincial managers when she suddenly left the show to appear in “I’m a Celebrity... Get Me Out of Here”. However, the extra publicity from the television show persuaded the powers-that-be to bring the show into the West End. It was criticised for its touring scenery, and inevitably Toyah Wilcox was compared unfavourably to Doris Day in the film version, but all in all her performance was mostly praised, though the show itself had a luke-warm reception.
Presse : MICHAEL BILLINGTON for THE GUARDIAN says, "The show's saving graces are Sammy Fain's score and Craig Revel Horwood's choreography."

BENEDICT NIGHTINGALE for THE TIMES says, "She [Toyah Willcox ] is the bubbling epicentre of Ed Curtis’s relentlessly larky production."

PAUL TAYLOR for THE INDEPENDENT says, "Hit-and-miss."

PATRICK MARMION for TIME OUT says, "Toyah Willcox is horribly miscast as Calamity."

Version 3

Hard Times (2000-06-Haymarket Theatre-London)

Type de série: Original
Théâtre: Haymarket Theatre (Londres - Angleterre)
Durée : 2 mois 3 semaines
Nombre : 95 représentations
Première Preview : Monday 22 May 2000
Première : Tuesday 06 June 2000
Dernière : Saturday 26 August 2000
Mise en scène : Chris Tookey
Chorégraphie : Craig Revel Horwood
Producteur :
Avec : Brian Blessed (Dickens/Gradgrind), Roy Hudd (Samuel Sleary), Ann Emery (Mrs Sleary/Mrs Gradgrind), Helen Anker (Louisa), Malcolm Rennie (Bounderby), Peter Blake (Harthouse), Susan-Jane Tanner, Matt Rawle, Ray C. Davis
Commentaires : The circus-format derived from the appearance in the novel of Samuel Sleary’s travelling circus, but the whole jolly format came over as a send-up of the novel, rather than a musical. The musical style ranged from Gilbert & Sullivan to romantic ballads and vaudeville numbers and the show itself was amiable, silly and old fashioned. With Brian Blessed (“never knowingly underplayed”) and Roy Hudd in an extension of his glorious music-hall acts, this was a curious mish-mash, and came off on August 26th after just three months.
Presse : THE TIMES says, "A warm, thoroughly likeable evening, but not one that fulfils Dickens's more serious aims.."

THE GUARDIAN says, "This tuppence-coloured tuner reminds us of the days when the musical was a source of innocent delight."

THE FINANCIAL TIMES says, "Once it gets going, it is amiable and rather charming, and it has a warmth about it that is very welcome after some of the more soulless blockbuster musicals. "

THE DAILY TELEGRAPH critic says " I particularly relished the moment when Mrs Gradgrind got up and performed an energetic tap dance after her big death scene - dramatic energy burns at a dismally low wattage."

THE DAILY MAIL, liked the show saying Brian Blessed is "Delightful, and Roy Hudd "is a Hoot"

THE NEWS OF THE WORLD says it "will send audiences home with warm hearts and a spring, in their step".

PETER HEPPLE for THE STAGE says, "What we see is an engaging but overlong mixture of music hall, circus and the kind of British musical that fell out of fashion in the seventies."

DOMINIC CAVENDISH for TIME OUT says, "This show has an intimate scale, a sense of humour and a respect for such old-fashioned virtues as a narrative you can follow and tunes you could, in theory hum."

NICHOLAS DE JONGH did not like it at all calling it "Boring" and saying, "This three-hour Hard Times could do with major surgery".

Version 4

My one and only (2002-02-Piccadilly Theatre-London)

Type de série: Original London
Théâtre: Piccadilly Theatre (Londres - Angleterre)
Durée : 5 mois 1 semaine
Nombre : 183 représentations
Première Preview : Saturday 09 February 2002
Première : Monday 25 February 2002
Dernière : Saturday 03 August 2002
Mise en scène : Loveday Ingram
Chorégraphie : Craig Revel Horwood
Producteur :
Avec : Tim Flavin (Captain Billy Buck), Janie Dee (Edythe), Hilton McRae (Prince Nikki), Jenny Galloway (Mickey), Richard Calkin (Revd. Montgomery), Richard Lloyd King (Mr Magix), Paul J. Medford, Horace Oliver, Mykal Rand, Omar F. Okai, Kevin Brewis.
Commentaires : This show started life as a revival of the Gershwins’1927 musical “Funny Face”, but by the time it opened in New York in May 1983 it had been given a new story, cut half the original songs and added numbers from other Gershwin shows); and had gone through 4 directors and 6 librettists. Given a new title, “My One and Only”, ran for 767 Broadway performances starring Twiggy and Tommy Tune. Its UK premiere was at Chichester in July 2001, and transferred to the West End. It generally received good notices, with special praise for the choreography but only managed 183 performances and a five month run.
Presse : NICHOLAS DE JONGH for THE EVENING STANDARD says, “You come out tap-dancing on air, thanks to the addictive rhythms of the songs and music.”

MICHAEL BILLINGTON for THE GUARDIAN says, “The songs are delightful, the choreography first rate - and even if the show feels as if it has been assembled rather than actually created, it leaves us with a pleasantly comfortable glow.”

PAUL TAYLOR for THE INDEPENDENT says, “The show is dance-driven, with hit-and-miss (mostly hit) synchronised tap choreography”

CHARLES SPENCER for THE DAILY TELEGRAPH says it is a “warm, glamorous production” and goes on to say, “My One and Only looks like a splash hit to me.”

JOHN THAXTER for THE STAGE says, "Gorgeous, tuneful staging".

Version 5

Spend Spend Spend (1999-10-Piccadilly Theatre-London)

Type de série: Original
Théâtre: Piccadilly Theatre (Londres - Angleterre)
Durée : 9 mois 4 semaines
Nombre : 342 représentations
Première Preview : Tuesday 05 October 1999
Première : Tuesday 12 October 1999
Dernière : Saturday 05 August 2000
Mise en scène : Jeremy Sams
Chorégraphie : Craig Revel Horwood
Producteur :
Avec : Barbara Dickson (Viv Nicholson), Rachel Leskovac (Young Viv), Steve Houghton (Keith), Jeff Shankley (George), Jonathan Bum, Tania Caridia, Susan Fay, Kate Harbour, Marjorie Keys, Gary Milner, Craig Nicholls, Stuart Nurse, Stuart Pendred, Robin Samson, Jeff Shankley, Nicola Sloane, Duncan Smith, Jamie Somers, Mary Stockley , Paul Thomloy.
Commentaires : The musical had its first performance in 1998 at the West Yorkshire Playhouse. The London production opened in October and ran until August in the following year. It won the Evening Standard and Critics’ Circle Awards as Best Musical, and Barbara Dickson won the Olivier Award for the Best Actress in a Musical. It ended on August 5th 2000 - a run of over nine months.
Presse : CHARLES SPENCER of THE DAILY TELEGRAPH says, "Best new British musical in years" and goes on to say "Spend Spend Spend is popular entertainment at its best, devoid of the cynical contrivance of so many musicals and blessed with heart, humour and irresistible humanity."

BENEDICT NIGHTINGALE of THE TIMES says the show has "splendidly lively songs" and "excellent lyrics".

IAN SHUTTLEWORTH of THE FINANCIAL TIMES says, "It is the most glorious new musical I can ever recall seeing." He goes on to say "Spend Spend Spend fully deserves to join Blood Brothers as a working-class "up yours" fixture among West End musicals...."

However, NICHOLAS DE JONGH of THE EVENING STANDARD was luke warm about the show saying, "Unfortunately this musical lacks a sharp book of lyrics, though there's some rollicking fun on the journey."

Version 6

Sunset Boulevard (2008-12-Comedy Theatre-London)

Type de série: Revival
Théâtre: Harold Pinter Theatre (Londres - Angleterre)
Durée : 5 mois 2 semaines
Nombre :
Première Preview : Thursday 04 December 2008
Première : Monday 15 December 2008
Dernière : Saturday 30 May 2009
Mise en scène : Craig Revel Horwood
Chorégraphie : Craig Revel Horwood
Producteur :
Avec : Kathryn Evans (Norma Desmond), Ben Goddard (Joe Gillis), Laura Pitt-Pulford (Betty Schaefer), Dave Willetts (Max)
Commentaires : Over the fifteen years since it first opened “Sunset Boulevard” had been associated with awards, lawsuits, long runs, big stagings and even bigger losses. But this revival revealed a smaller, more dramatic and intensely gripping show. With just a chaise longue and a spiral staircase to suggest Norma Desmond’s faded glamour, some people felt it failed to capture the decadent spirit of the original, and with actors doubling as musicians, it felt a bit cheap and “Brechtian”. However, most of the critics felt being able to concentrate on the essence of the characters and the score was an enormous advantage– and confirmed that, at heart, “Sunset Boulevard” is a great and undervalued musical. Originally the show was scheduled to close in mid-April, but the booking period was extended to mid-September. However, six weeks into the extended period, on May 30 th, the show closed due to a downturn in sales.
Presse : NICHOLAS DE JONGH for THE EVENING STANDARD says, "Small is better and sometimes beautiful when it comes to this scaled-down, intimate version of Andrew Lloyd Webber’s 1993 musical melodrama."
MICHAEL COVENEY for THE INDEPENDENT says, "...a score that is as dynamic and complex as any that Lloyd Webber has written."
MICHAEL BILLINGTON for THE GUARDIAN says, "Intelligently pared-down production...the main discovery is that inside Lloyd Webber's big belter of a musical, there is a smaller, more dramatic show that has been waiting for years to be let out."
DOMINIC MAXWELL for THE TIMES says, "Revel Horwood’s production is persuasive. As this jaw-droppingly skilful cast jump between instruments, Lloyd Webber’s score is always interesting, sometimes catchy."
CHARLES SPENCER for THE DAILY TELEGRAPH says, "Knockout revival...blessed with both sharp wit and a superb ensemble...[Craig Revel] Horwood's choreography is neat and witty, but it is the sheer panache of the whole ensemble that makes this revival so special, plus the sense that justice has finally been done to a great and undervalued musical."