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Version 1

American Clock (The) (2018-12-Old Vic-London)

Type de série: Revival
Théâtre: Old Vic (Londres - Angleterre)
Durée : 1 mois 2 semaines
Nombre :
Première Preview : Monday 04 February 2019
Première : Thursday 14 February 2019
Dernière : Saturday 30 March 2019
Mise en scène : Rachel Chavkin
Chorégraphie :
Producteur :

Version 2

Hadestown (2018-11-Olivier Theatre-National Theatre-London)

Type de série: Original Europe
Théâtre: National Theatre (Londres - Angleterre)
Salle : Olivier Theatre
Durée : 2 mois 2 semaines
Nombre :
Première Preview : Friday 02 November 2018
Première : Tuesday 13 November 2018
Dernière : Saturday 26 January 2019
Mise en scène : Rachel Chavkin
Chorégraphie :
Producteur :
Avec : Eurydice), Reeve Carney (Orpheus), Rosie Fletcher (the Fates), Carly Mercedes Dyer (the Fates), Gloria Onitiri (the Fates), Amber Gray (Persephone), Patrick Page (Hades), Sharif Afffifi (Ensemble), Beth Hinton-Lever (Ensemble), Seyi Omooba (Ensemble), Alesha Pease (Ensemble), Joseph Prouse (Ensemble), Jordan Shaw (Ensemble), Shaq Taylor (Ensemble)

Version 3

Hadestown (2019-04-Walter Kerr Theatre-Broadway)

Type de série: Original Broadway
Théâtre: Walter Kerr Theatre (Broadway - Etats-Unis)
Durée : Se joue actuellement
Nombre :
Première Preview : Friday 22 March 2019
Première : Wednesday 17 April 2019
Dernière : Open end, ouvert actuellement jusqu'au Thu 01 January 1970
Mise en scène : Rachel Chavkin
Chorégraphie : David Neumann
Producteur :
Commentaires : Following its acclaimed world premiere at off-Broadway's New York Theatre Workshop in May 2016 and a Canadian premiere at the Citadel Theatre, Edmonton in November 2017, Hadestown transferred to London's National Theatre for a highly celebrated run from November 2018 through to January 2019.

The Broadway transfer of Anaïs Mitchell's celebrated folk opera, co-developed and directed by Tony Award nominee Rachel Chavkin, is expected to begin performances at the Walter Kerr Theatre on March 22, 2019, ahead of an official opening on April 17.

Version 4

Natasha, Pierre and The Great Comet of 1812 (2016-11-Imperial Theatre-Broadway)

Type de série: Original
Théâtre: Imperial Theatre (Broadway - Etats-Unis)
Durée : 9 mois 3 semaines
Nombre : 32 previews - 336 représentations
Première Preview : Tuesday 18 October 2016
Première : Monday 14 November 2016
Dernière : Sunday 03 September 2017
Mise en scène : Rachel Chavkin
Chorégraphie : Sam Pinkleton
Producteur :
Avec : Josh Groban (Pierre), Denée Benton (Natasha), Brittain Ashford (Sonya), Gelsey Bell (Princess Mary), Nicholas Belton (Bolkonsky/Andrey), Nick Choksi (Dolokhov), Amber Gray (Helene), Grace McLean (Marya D), Paul Pinto (Balaga), Lucas Steele (Anatole)
Commentaires : After years of speculation, Josh Groban finally made his Broadway debut! However his turn in this ravishing adaptation of the most scandalous pages from Tolstoy's epic War and Peace will end on July 2nd. Reimagined as a transporting electro-pop opera, writer Dave Malloy immerses us in the decadent world of the Russian Aristocracy, with all the trappings of romance, passion, caviar and vodka as the lives of the titular characters are changed forever under the light of certain cosmic phenomenon.
Presse : "The Imperial Theater, where the rapturous musical 'Natasha, Pierre and the Great Comet of 1812' blazed opened on Monday night, has never looked more imperial — or felt more intimate. Who would have guessed that Dave Malloy’s gorgeous pop opera, adapted from a slice of Tolstoy’s 'War and Peace,' would land on Broadway with all its signal virtues intact, and in some ways heightened?" Charles Isherwood for New York Times

"Josh Groban makes a terrific Broadway debut in the ear- and eye-popping 'Natasha, Pierre & the Great Comet of 1812'... the show is bold and affecting and a welcome addition to the Great White Way." Joe Dziemianowicz for New York Daily News

"Despite the romantic trauma of the plot, The Great Comet leaves you glowing with hope: for redemption through kindness in the face of ruin, and for a brighter future in the face of terrible omens. It’s a wonderful, soul-stirring escape." Adam Feldman for Time Out New York

"It’s best for people who want to say they experienced a cool immersive experience on Broadway, but one without any heart. It’s pure showmanship with none of the emotional payoff." Mark Kennedy for Associated Press

"It arrives on Broadway in superlative shape, its humor, emotional content and rip-roaring storytelling every bit as vibrant as its madly infectious score." David Rooney for Hollywood Reporter

"A luscious, 360-degree immersive experience that feels like being smothered in velvet." Marilyn Stasio for Variety