Musical ()


Musique: *** Divers
Paroles: *** Divers
Livret: *** Divers
Production à la création:



Aucun dossier informatif complémentaire concernant ** Hors DB Musical


Version 1

4 Steps to Heaven (1999-07-Piccadilly Theatre-London)

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

Durée : 2 mois
Nombre : 72 représentations
Première Preview : mardi 27 juillet 1999
Première : jeudi 29 juillet 1999
Dernière : samedi 02 octobre 1999
Mise en scène : Keith Strachan
Chorégraphie :
Producteur :
Avec : Peter Howarth (Roy Or bison), Rebel Dean (Elvis Presley), Kludo White (Eddie Cochran), Reuven Gershon (Buddy Holly)
Commentaires : Notes: In the first half each singer had a solo spot, re-creating the famous hits but with each section ending with appropriate images - plane crashes, etc. In the second half all four were re-united for a “heavenly group” concert. The production had been on a UK tour and came into the West End because of a gap in the Piccadilly’s programming. The London Evening Standard critic said: “ Rock’n’roll will never die, but it isn’t looking too healthy at the Piccadilly. In this compilation tribute concert, unconvincing lookalikes impersonate dead rock legends. . . and murder their songs”. It ran for nine weeks.

Version 2

A Tale of two Cities (2012-04-Charing Cross Theatre-London)

Type de série: Original
Théâtre: Charing Cross Theatre (Londres - Angleterre)
Durée : 3 semaines
Nombre :
Première Preview : jeudi 05 avril 2012
Première : mercredi 18 avril 2012
Dernière : samedi 12 mai 2012
Mise en scène : Paul Nicholas
Chorégraphie :
Producteur :
Avec : Michael Howe (Carton), Jonathan Ansell/Antony Hansen (Darnay), Jennifer Hepburn (Lucie), Jemma Alexander (Mme Defarge), Craig Berry (Defarge), John Fleming (Manette), Miles Eagling (Stryver), David Alder (Lorry), Pippa Winslow (Pross), Tom Murphy (Gabelle), Christopher Gilling (Evreonde), Mark Slowey (Barsad), Neil Canfer (Gaspard), Rebecca Wicking (Seamstress) and Matt Stevens (Ensemble)

Version 3

Albert Speer (2000-05-Lyttelton Theatre-NT-London)

Type de série: Original
Théâtre: National Theatre (Londres - Angleterre)
Salle : Lyttelton Theatre
Durée : 1 mois 2 semaines
Nombre : 35 représentations
Première Preview : lundi 15 mai 2000
Première : jeudi 25 mai 2000
Dernière : samedi 08 juillet 2000
Mise en scène : Trevor Nunn
Chorégraphie :
Producteur :
Avec : Chloe Angharad, Roger Allam, Patrick Baladi, Stephen Ballantyne,Tilly Blackwood, Cathryn Bradshaw,Sally-Ann Burnett, Martin Chamberlain, Elizabeth Conboy, Jonathan Cullen, Simon Day, Pip Donaghy, William Gaunt, Alex Jennings, Christine Kavanagh, Patrick Marlowe, Charles Millham, Iain Mitchell, Sylvester Morand, John Nolan, Adrian Penketh, Imogen Slaughter, Giles Smith, Jessica Turner, Chris Vance, David Weston, Benny Young

Version 4

All or Nothing 2018-02-Arts Theatre-London)

Type de série: Original London
Théâtre: Arts theatre (Londres - Angleterre)
Salle : Main Stage
Durée : 1 mois
Nombre :
Première Preview : mardi 06 février 2018
Première : jeudi 08 février 2018
Dernière : dimanche 11 mars 2018
Mise en scène : Tony Mchale
Chorégraphie :
Producteur :
Commentaires : Transféré à l'Ambassadors Theatre.
Presse : ★★★★★ "WOW, JUST WOW, this incredible musical takes your breath away" Daily Record

★★★★ “Great gags, the music is MARVELLOUS” Daily Mail

“FUNNY, FIERY AND BRAVE, You’ll have a rocking night out” Daily Star

"It's the most fun I've had at the theatre since Sunny Afternoon." Daily Mail

"Does the world really need another jukebox musical? When they're as entertaining as All Or Nothing, I can only say yes. " Sunday Express

"All Or Nothing has enough it and vim about it to keep a smile on your face even on the Lambretta ride home. " The Times

"All or Nothing delivers the goods. At once cheeky and reverential...." Daily Telegraph

"The show is, rightly, rough around the edges, and full of energy thanks to the terrific band" Mail on Sunday

"A smile inducing night of mod nostalgia" Sunday Express

"If Sunny Afternoon can get to the West End from the humble Hampstead Theatre, then there's no reason the modest All or Nothing couldn't do the same. This Jukebox Juror reckons it's a "Hit"! " Musical Theatre Review

Version 5

All or Nothing 2018-03-Ambassadors Theatre-London)

Type de série: Reprise
Théâtre: Ambassadors Theatre (Londres - Angleterre)
Durée : 2 mois
Nombre :
Première Preview : jeudi 29 mars 2018
Première : jeudi 29 mars 2018
Dernière : samedi 02 juin 2018
Mise en scène : Tony Mchale
Chorégraphie :
Producteur :
Commentaires : Transféré à l'Ambassadors Theatre.
Presse : ★★★★★ "WOW, JUST WOW, this incredible musical takes your breath away" Daily Record

★★★★ “Great gags, the music is MARVELLOUS” Daily Mail

“FUNNY, FIERY AND BRAVE, You’ll have a rocking night out” Daily Star

"It's the most fun I've had at the theatre since Sunny Afternoon." Daily Mail

"Does the world really need another jukebox musical? When they're as entertaining as All Or Nothing, I can only say yes. " Sunday Express

"All Or Nothing has enough it and vim about it to keep a smile on your face even on the Lambretta ride home. " The Times

"All or Nothing delivers the goods. At once cheeky and reverential...." Daily Telegraph

"The show is, rightly, rough around the edges, and full of energy thanks to the terrific band" Mail on Sunday

"A smile inducing night of mod nostalgia" Sunday Express

"If Sunny Afternoon can get to the West End from the humble Hampstead Theatre, then there's no reason the modest All or Nothing couldn't do the same. This Jukebox Juror reckons it's a "Hit"! " Musical Theatre Review

Version 6

Always (1997-06-Victoria Palace Theatre-London)

Type de série: Original
Théâtre: Victoria Palace Theatre (Londres - Angleterre)
Durée : 1 mois 2 semaines
Nombre : 54 représentations
Première Preview : jeudi 22 mai 1997
Première : mardi 10 juin 1997
Dernière : samedi 26 juillet 1997
Mise en scène : Thommie Walsh • Frank Hauser
Chorégraphie : Thommie Walsh
Producteur :
Avec : Jan Hartley (Wallis Simpson), Clive Carter (Edward VIII), Shani Wallis (Aunt Bessie), David McAlister (Ernest Simpson), James Home (Stanley Baldwin), Ursula Smith (Queen Mary), Chris Humphreys (Lord Mountbatten), Buster Skeggs (Lady Colefax), Helen Anker (Lady Furness) , Sheila Ferguson (Analise L ’Avender)
Commentaires : Unfortunately the end result was not a great love story. It was a mish-mash of confused scenes, skimpy characterisation, lacking any sense of period and history, and prone every so often to throw in a musical sequence, including one spectacularly over-blown fairground nightmare sequence with chorus boys dressed as carousel horses. The critics had a field day describing “Always” as “Briefly”, and it was said that backstage the cast themselves referred to the show as “Wallis and Vomit”. It closed after seven weeks, with huge losses.
Presse : NICK CURTIS of THE EVENING STANDARD written an awful review of the show saying, "There have been dud musicals this year, but nothing to match this gloriously mis-guided attempt by novice writers William May and Jason Sprague" he goes on to say " The tunes are bland and repetitive, the lyrics staggeringly banal."

LYN GARDNER of THE GUARDIAN is not impressed either, saying the show lacks "anything approaching a good tune." and in reference to the 28 scenes in the show, goes on to say " The authors appear to have imagined that they were writing a movie not a musical." There is a luke warm response from

CHARLES SPENCER of THE DAILY TELEGRAPH, "It's not that bad. But it must emphatically be added that it's no that good either.' he then goes on to say the production is "slick but hollow" and concludes "I fear the show's run is doomed to be a deal briefer than Edward VIII's reign."

BILL HAGERTY of THE NEWS OF THE WORLD describes the show has having, "insipid songs, unimaginative choreography and dialogue."

Version 7

Amasis - an Egyptian Princess (1906-12-Criterion Theatre-London)

Type de série: Original
Théâtre: Criterion Theatre (Londres - Angleterre)
Durée :
Nombre : 300 représentations
Première Preview : lundi 31 décembre 1906
Première : lundi 31 décembre 1906
Dernière : Inconnu
Mise en scène :
Chorégraphie :
Producteur :
Commentaires : Créé au New Theatre (actuellement Noëm Coward Theatre) le 9 août 1906 et transféré au Criterion Theatre le 31 décembre 1906.

Version 8

Andy Capp (1982-09-Aldwych Theatre-London)

Type de série: Original
Théâtre: Aldwych Theatre (Londres - Angleterre)
Durée : 3 mois 3 semaines
Nombre : 99 représentations
Première Preview : Inconnu
Première : mercredi 29 septembre 1982
Dernière : samedi 22 janvier 1983
Mise en scène : Braham Murray
Chorégraphie : Sue Lefton
Producteur :
Avec : Tom Courtenay (Andy Capp), Val Me Lane {Florence Capp), John Bardon (Chalkie)
Commentaires : Based on the Reg Smythe cartoon characters as featured in the “Daily Mirror”, the show had a gritty reality which didn’t sit too comfortably with its musical format, and an underlying bleakness with its portrait of poverty, unemployment, disillusion, and an irreconcilability between the male and female points of view. For most of the critics the verdict was - it didn’t work. However, “Plays and Players” gave it their Best New Musical of the Year Award!

Version 9

Are you lonesome tonight? (1985-08-Phoenix Theatre-London)

Type de série: Original
Théâtre: Phoenix Theatre (Londres - Angleterre)
Durée : 10 mois 3 semaines
Nombre : 354 représentations
Première Preview : Inconnu
Première : mardi 13 août 1985
Dernière : samedi 05 juillet 1986
Mise en scène : Robin Lefevre
Chorégraphie :
Producteur :
Avec : Martin Shaw (Elvis Presley), Simon Bowman (Young Elvis), Roger Booth (Colonel Tom Parker) , Michael Keating, Paul Ridley, Peter Marinker, Ray Jewers, Robert East, Colette Stevenson, Stacey Zuckerman.
Commentaires : Simon Bowman’s re-creation of young Elvis at the peak of his professional life was much praised, and Martin Shaw’s portrayal of a legend in decay was similarly acclaimed. The writing and liberties taken with the real life-story were criticised, but the show itself was a great hit with the critics, and won the Evening Standard Best Musical of the Year award. The production originated at Liverpool Playhouse.

Version 10

Art of Living (The) (1960-08-Criterion Theatre-London)

Type de série:
Théâtre: Criterion Theatre (Londres - Angleterre)
Durée :
Nombre :
Première Preview : jeudi 18 août 1960
Première : jeudi 18 août 1960
Dernière : Inconnu
Mise en scène :
Chorégraphie :
Producteur :
Commentaires : Revue based on the writings of Art Buchwald

Version 11

Autumn Manœuvres (1912-05-Adelphi Theatre-London)

Type de série: Original
Théâtre: Adelphi Theatre (Londres - Angleterre)
Durée :
Nombre :
Première Preview : samedi 25 mai 1912
Première : samedi 25 mai 1912
Dernière : Inconnu
Mise en scène :
Chorégraphie :
Producteur :

Version 12

Ballad of little Jo (The) (2003-07-Bridewell Theatre-London)

Type de série: Original
Théâtre: Bridewell Theatre (Londres - Angleterre)
Durée : 3 semaines
Nombre :
Première Preview : mardi 01 juillet 2003
Première : mardi 01 juillet 2003
Dernière : samedi 26 juillet 2003
Mise en scène : Carol Metcalfe
Chorégraphie : Sam Spencer-Lane
Producteur :
Avec : Anna Francolini (Jo Monaghan), Kieran Brown (Jordan), Karen Evans (Sara), Phong Troung (Tien Mein Wong), Daniel Reeves, Craig Pinder, Abigail Langham, Jason Lee Scott, Gavin James, William Wolfe Hogan, Audrey Palmer, Ellen O’Grady, Mark Carroll
Commentaires : Hugely praised as the “best new musical for years”, its music ranged from beautiful and lyrical ballads to true toe-tappers, and a rich score based on the ballads, hymns and drinking songs from the American folk tradition. Based on Maggie Greenwald’s 1993 film starring Suzy Amis, Bo Hopkins and Ian McKellen, this musical version was first staged in September 2000 at Chicago’s Steppenwolf Theater.

Version 13

Barnardo (1980-05-Royalty Theatre-London)

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

Durée :
Nombre : 43 représentations
Première Preview : Inconnu
Première : mercredi 21 mai 1980
Dernière : Inconnu
Mise en scène : Ernest Maxim
Chorégraphie : Alain de Hay
Producteur :
Avec : James Smillie (Dr Barnardo), Fiona Fullerton (Syrie Elmslie), and a cast including 20 Children
Commentaires : This was one of the great disasters of musical theatre. It contained embarrassing moments like Mrs Barnardo thrusting her dead baby into the arms of her husband for him to sing about “My Son”, a dreadful duet for two poor urchins singing a song called “Cor”, and reviews which said things like “This is a case for the NSPCC” . The show was in financial trouble very early on, with a receiver called in, and the receiver quarrelling with the show’s publicists - they refused to place any more adverts or posters unless they were paid - and then furiously criticising the reviewers for their bad notices, claiming this was a show which the audiences loved.
Presse : "Written, composed and directed by Ernest Maxin (to whom we raise our hatchets), Barnardo at the Royalty is everything one expects a British musical to be: a collection of familiar-sounding tunes and empty lyrics tethered to a book deprived of wit or logic. Songbook, A Night in the Ukraine and Talent were recent shining exceptions to the rule, but here we are back with the showbiz musical that tells us less about Dr Barnardo in three hours than a programme note in 1,500 words." The Guardian - 23 may 1980

Version 14

Bashville (1983-08-Open Air Theatre Regent's Park-London)

Type de série: Original
Théâtre: Open Air Theatre, Regent's Park (Londres - Angleterre)
Durée :
Nombre :
Première Preview : Inconnu
Première : mardi 02 août 1983
Dernière : Inconnu
Mise en scène : David William
Chorégraphie : Gillian Gregory
Producteur :
Avec : Douglas Hodge (Bashville), Christina Collier (Lydia Carew), Peter Woodward (Cashel Byron), James Caimcross, Vincenzo Nicolai, Joan Davies
Commentaires : Adapted from George Bernard Shaw’s “The Admirable Bashville”, this was the first musical to be produced in the Regent’s Park Open Air Theatre, and required a special area to be excavated to accommodate the small orchestra. The experiment was well received, and the same production was given a second outing in the park the following year.

Version 15

Beautiful Dreamer (1982-04-Greenwich Theatre-London)

Type de série: Original
Théâtre: Greenwich Theatre (Londres - Angleterre)
Durée :
Nombre :
Première Preview : Inconnu
Première : jeudi 22 avril 1982
Dernière : Inconnu
Mise en scène : Roger Haines
Chorégraphie : Kenn Oldfield
Producteur :
Avec : Simon Green (Stephen Foster), Christina Matthews, Dorothy Vernon, Ian Burford, Paul Bentley, Harry Dickman
Commentaires : This originated at the Haymarket, Leicester.

Version 16

Behind the Iron Mask (2005-08-Duchess Theatre-London)

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

Durée : 2 semaines
Nombre : 23 représentations
Première Preview : jeudi 21 juillet 2005
Première : mardi 02 août 2005
Dernière : samedi 20 août 2005
Mise en scène :
Chorégraphie :
Producteur :
Commentaires : Notes: This show was greeted with unanimous hoots of derision and disappeared within three weeks. Some of the critical comments were: “Absolutely all expense has been spared on the skimpy set”; the leading man spends the whole show “in headgear that makes him look like a mix of Darth Varder, Hannibal Lecter and a charred parrot”; “in a supposedly erotic dance, Feguson wafts her skirt as if she is measuring up for curtains and talks of love and passion as though checking off a shopping list”; “to suggest it is plain terrible does not do justice to its sheer, gothic relentless awfulness”; “The
prisoner’s big number is called Touch Me’. Given this show, the phrase that
comes to mind is ‘not with a bargepole’”.
This show joined the legendary group of the most awful West End shows ever.
Presse : FIONA MOUNTFORD for THE EVENING STANDARD says, "..wretchedly overamplified production and the actors seem to have decided to conserve energy by expressing no emotion whatsoever in speech or song.."
PAUL TAYLOR for THE INDEPENDENT says, "There were weird, vacant moments when it seemed to run completely out of steam, as though, like its audience, it was losing the will to live."
LYNN GARDNER for THE GUARDIAN says, "Nobody comes out of this with any real credit, although Ferguson does at least inject some energy into her musical numbers."
BENEDICT NIGHTINGALE for THE TIMES says, "The music sometimes has a pleasant Lloyd-Webbery lilt, but the lyrics are mostly vile and the sudden twists of behaviour would take platoons of psychologists to unravel."
CHARLES SPENCER for THE DAILY TELEGRAPH says, "It's so bad that it is merely unendurable.There's no insane flourish to its mediocrity, no sublimity to its awfulness. It is just relentlessly, agonisingly third-rate." "

Version 17

Belle of Bond Street (The) (1914-06-Adelphi Theatre-London)

Type de série: Original London
Théâtre: Adelphi Theatre (Londres - Angleterre)
Durée :
Nombre :
Première Preview : lundi 08 juin 1914
Première : lundi 08 juin 1914
Dernière : Inconnu
Mise en scène :
Chorégraphie :
Producteur :
Commentaires : Créé à Broadway : Shubert Theatre, (30/3/1914 - 9/5/1914), 48 représentations

Version 18

Beyond Bollywood (2015-05-Palladium Theatre-London)

Type de série: Original London
Théâtre: Palladium Theatre (Londres - Angleterre)
Durée : 1 mois 2 semaines
Nombre :
Première Preview : vendredi 08 mai 2015
Première : lundi 11 mai 2015
Dernière : samedi 27 juin 2015
Mise en scène : Rajeev Goswami
Chorégraphie :
Producteur :
Commentaires : The UK premiere of Beyond Bollywood following sold out Mumbai dates.

Version 19

Biograph Girl (The) (1980-11-Phoenix Theatre-London)

Type de série: Original
Théâtre: Phoenix Theatre (Londres - Angleterre)
Durée :
Nombre : 57 représentations
Première Preview : Inconnu
Première : mercredi 19 novembre 1980
Dernière : Inconnu
Mise en scène : Victor Spinetti
Chorégraphie : Irvin Davies
Producteur :
Avec : Cast: Kate Revill (Lillian Gish), Sally Brelsford (Mary Pickford), Bruce Barry (D. W.Griffith), Richard Kates (J.C.Epping), Ron Berglas (Adolphe Zukor), Guy Siner (Mack Sennett)
Commentaires : This opened at the Gardner Centre, Brighton and was devised as a small-scale show, inspired by Warner Brown’s rejected play “Flickers”. The opening night was attended by Lillian Gish herself and attracted enormous publicity. The critics felt the show hovered uneasily between parody and reverential salute, and in spite of a lot of praise for Heneker’s score, the show came off rather quickly.

Version 20

Blockheads (1984-10-Mermaid Theatre-London)

Type de série: Original
Théâtre: Mermaid Theatre (Londres - Angleterre)
Durée :
Nombre : 22 représentations
Première Preview : Inconnu
Première : mercredi 17 octobre 1984
Dernière : Inconnu
Mise en scène : Arthur Whitelaw
Chorégraphie :
Producteur :
Avec : Mark Hadfield (Stan Laurel), Kenneth H. Waller (Oliver Hardy), Simon Browne, Larry Dann, Susan Denaker, Richard Drabble, MeggNicol
Commentaires : The supporting cast played several roles each, covering such characters as Stan’s father, Hal Roach the film producer, James Finlayson, Keystone cops, cameramen and fellow actors. Mark Hadfield and Kenneth Waller were praised for their “look-a-like” portrayals, but the show was judged empty, shapeless, and pleasantly innocuous. It lasted just two and a half weeks.
Presse : "... a bracing, rugged and exhilarating adaptation of Bragg's novel ... splendidly original music ... a magnificent British achievement." Time Out
"... hewing his (Goodall) musical line from Britain's choral traditions with an audacity that is at once thrilling and fearful..." City Limits
"Howard Goodall's score is one of the finest I have heard in a British musical in years." Guardian
"thoughtful and, on occasions most moving ... That rare thing: a folk opera of our immediate past." Daily Mail
"Melvyn Bragg's qualities as a novelist-humanity, idealism and a complex and highly articulate man's understanding of those who are simple and inarticulate-shine out from this musical..." Sunday Telegraph

Version 21

Blue / Orange (2000-04-Cottesloe Theatre-NT-London)

Type de série: Original
Théâtre: National Theatre (Londres - Angleterre)
Salle : Dorfman Theatre
Durée : 4 mois 1 semaine
Nombre : 68 représentations
Première Preview : vendredi 07 avril 2000
Première : jeudi 13 avril 2000
Dernière : mercredi 23 août 2000
Mise en scène : Roger Michell
Chorégraphie :
Producteur :
Avec : Chiwetel Ejiofor, Bill Nighy, Andrew Lincoln
Commentaires : Sera transféré au Duchess Theatre : 30/4 - 15/12/2001

Version 22

Blue / Orange (2001-04-Duchess Theatre-London)

Type de série: West End Transfer
Théâtre: Duchess Theatre (Londres - Angleterre)
Durée : 7 mois 2 semaines
Nombre :
Première Preview : mardi 24 avril 2001
Première : lundi 30 avril 2001
Dernière : samedi 15 décembre 2001
Mise en scène : Roger Michell
Chorégraphie :
Producteur :
Avec : Andrew Lincoln , Bill Nighy , Chiwetel Ejiofor (then David Threlfall, Neil Stuke, Shaun Prices)
Commentaires : The interior of the Duchess Theatre has been re-configured allowing for the play to be presented in-the-round, as it was at the Cottesloe Theatre in April 2000
Presse : BEN DOWELL for THE STAGE says, "Superbly acted in the round, it loses nothing of its combative, subtle power...." NICHOLAS DE JONGH for THE EVENING STANDARD was not as enthusiastic for the transfer saying, "At last night's West End transfer, I was besieged by second thoughts and first doubts about its real worth." He goes on to say, "As a psychiatric melodrama, with a cliffhanger's allure, Blue/Orange still works theatrical wonders. Unfortunately....I can no longer believe in the play's authenticity." BENIDICT NIGHTINGALE for THE TIMES still liked it saying, "The play is humorous and notably compassionate, yet seems scrupulously fair and balanced about subjects that range from an overburdened NHS and community care system to the relation of ethnicity to mental illness to the uses and misuses of psychiatry." DOMINIC CAVENDISH for THE DAILY TELEGRAPH says, "Minor cavils aside, this will most likely prove to be the best play of the year, again."

Version 23

Blues Brothers Xmas Musical Special (The) (2015-12-Arts Theatre-London)

Type de série: Original
Théâtre: Arts theatre (Londres - Angleterre)
Salle : Main Stage
Durée : 1 mois 1 semaine
Nombre :
Première Preview : jeudi 26 novembre 2015
Première : jeudi 03 décembre 2015
Dernière : dimanche 10 janvier 2016
Mise en scène : Joshua Mumby
Chorégraphie :
Producteur :
Avec : David Christopher Brown (Joliet Jake Blues), Joshua Mumby (Elwood Blues), Simon Ray Harvey (Ray), Hannah Kee/Sasi Strallen/T’Shan Williams (Stax Sisters)

Version 24

Boogie nights (1998-10-Savoy Theatre-London)

Type de série: Original
Théâtre: Savoy Theatre (Londres - Angleterre)
Durée : 2 mois 3 semaines
Nombre : 95 représentations
Première Preview : vendredi 16 octobre 1998
Première : mardi 20 octobre 1998
Dernière : samedi 09 janvier 1999
Mise en scène : Jon Conway
Chorégraphie : Alan Harding
Producteur :
Avec : Shane Richie (Roddy), Lisa Maxwell (Debs), Sharon Benson (Lorraine), Peter Piper (Spencer), Nicholas Denney (Eamon), Steven Serlin (Terry), Jane Doyle, Mark Thrippleton, Ian Royce, John Blackman, Jo Redbum, Simon Smith.
Commentaires : This was a touring production which had originated at the Churchill Theatre in Bromley, and was playing a limited season in the West End. It received very mixed notices: “the most dismal of my theatregoing experiences”, “a blatant rip-off’, “pleasantly terrible, weirdly wonderful”, “sends us home on a nine-mile high”. The critics generally liked Shane Richie, but were unanimous in their praise for the young chorus boy-dancer, Simon Smith, saying he was the best thing in the show.

Version 25

Boogie Woogie Bubble ‘N’ Squeak (1982-03-Mayfair Theatre-London)

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

Durée :
Nombre :
Première Preview : Inconnu
Première : jeudi 25 mars 1982
Dernière : Inconnu
Mise en scène : Stuart Hopps
Chorégraphie :
Producteur :
Avec : Leonie Hofmeyer, Sarah McNair, Michele Maxwell
Commentaires : Three singers, collectively presenting themselves as the Skirted Issue, sing the past and present repertoire of a number of girl trios, including The Sisters Andrews, McGuires, Beverleys, Supremes, Pointer, and the Three Degrees and the Shangri-Las. The show makes satirical tun of the styles and songs, the illusion of real-life harmony among the girls, the fraudulence of stage allure - and in some unspecified way which doesn’t quite come off - makes a statement connected with Feminism. It did not receive good notices and was
quickly withdrawn.

Version 26

Boyband (1999-06-Gielgud Theatre-London)

Type de série: Original
Théâtre: Gielgud Theatre (Londres - Angleterre)
Durée : 2 mois 1 semaine
Nombre :
Première Preview : jeudi 27 mai 1999
Première : mardi 08 juin 1999
Dernière : samedi 14 août 1999
Mise en scène : Peter Rowe
Chorégraphie : Emma Victoria
Producteur :
Avec : Kevin Andrew (Adam), Tom Ashton (Matt), Daniel Crossley (Danny), Damien Flood (Sean), Stepps (Jay), Bryan Murray (Wayland), William Oxborrow, Caroline Head, Richard Taylor-Woods, Hay ley Tarmaddon
Commentaires : This was a cross between a rock concert and a documentary account of the rise and tribulations of a fictitious boy band. Five boys, Adam, Matt, Danny, Sean and Jay are moulded into a pop-group called Freedom under the control of Wayland, their exploitative promoter. Their contract forbids smoking, drinking and sex, since nothing must threaten their squeaky-clean image. Along the way they have to deal with one band member’s drug problem, and another’s emerging homosexuality, and a developing hatred between two of the boys. All in all this story bore many similarities to real-life stories from existing groups like Take That and others. However, ultimately it was the final concert that had the audience screaming for more, since these boys really could produce the goods. As one of the critics asked, “When did you last see a boy band that can really sing?”. It ran for just ten weeks.
Presse : THE DAILY MAIL says, "The songs are high quality anodyne pop, as good as anything you hear in the charts."

THE INDEPENDENT says, "The plot is anorexic, and the stars are two-dimensional: so I predict, with the deepest depression, that this musical will go far. "

THE DAILY EXPRESS says, "For all its earnest youth full athleticism, I'm afraid it's a gig with a limp."

THE DAILY TELEGRAPH says, "Almost all musicals depend on the quality of the book and Peter Quilter's script is a disgrace."

TIME OUT says, "Peter Quilter's book is pure pantomime, and audience responses range from surreal to excruciatingly funny."

THE STAGE says, "Peter Rowe directs this noisy, simplistic but oddly engaging show with considerable panache."

Version 27

Brighton Rock (2004-10-Almeida Theatre-London)

Type de série: Original
Théâtre: Almeida Theatre (Londres - Angleterre)
Durée : 1 mois 1 semaine
Nombre :
Première Preview : mardi 05 octobre 2004
Première : mardi 05 octobre 2004
Dernière : samedi 13 novembre 2004
Mise en scène : Michael Attenborough
Chorégraphie : Karen Bruce
Producteur :
Avec : Michael Jibson (Pinkie), Sophia Ragavelas (Rose), Nicholas Lumley (FredHale), Harriet Thorpe (Ida Arnold), David Burt, Neil McCaul, Paul Bentall, Corinna Powlesland, Gary Milner
Commentaires : Graham Greene’s 1938 novel was adapted into a play and then the famous 1947 film starring Richard Attenborough as Pinkie. Although ostensibly an underworld thriller, the story has an underlying challenge to Roman Catholic doctrine concerning the nature of sin and the basis of morality. Pinkie and Rose are Catholics, as was Greene, and their beliefs are contrasted with Ida's strong but non-religious moral sensibility. This musical version was directed by Richard Attenborough’s son, Michael, with music by the great film-score composer, John Barry and lyrics by Don Black. It was, however, a flop, with a general consensus that uninspired music and lyrics added nothing to a dark, disturbing and complex morality tale.

Version 28

Broadway (1927-xx-Adelphi Theatre-London)

Type de série:
Théâtre: Adelphi Theatre (Londres - Angleterre)
Durée :
Nombre : 252 représentations
Première Preview : Inconnu
Première : samedi 01 janvier 1927
Dernière : Inconnu
Mise en scène :
Chorégraphie :
Producteur :
Avec : Walter Armin, Roy Lloyd, Eleanor Hicks, Olga Hanson, Ben Welden, Josephine Evans, Olive Blakeney, Karen Peterson, Lilian Lyndon, Bunty O'Nolan, Violet Dunn, Bernard J. Nedell, Carlo De Angelo, Joseph Crehan, Gerald Lundegard, Hartley Power, Victor Tremaïne, Cliffman Jewell, Alec Harford
Commentaires : It was Abbott's first big hit on his way to becoming "the most famous play doctor of all time" after he "rejiggered" Dunning's play. The crime drama used "contemporary street slang and a hard-boiled, realistic atmosphere" to depict the New York City underworld during Prohibition. It opened on September 16, 1926, at the Broadhurst Theatre and was one of the venue's greatest hits, running for 603 performances.

Version 29

Budgie (1988-10-Cambridge Theatre-London)

Type de série: Original
Théâtre: Cambridge Theatre (Londres - Angleterre)
Durée : 3 mois
Nombre : 110 représentations
Première Preview : Inconnu
Première : mardi 18 octobre 1988
Dernière : samedi 21 janvier 1989
Mise en scène : Jonathan Lynn
Chorégraphie : Anthony Van Laast
Producteur :
Avec : Adam Faith (Budgie Bird), Anita Dobson (Hazel), John Turner (Charlie Endell), Caroline O’Connell (Lulu), Catherine Terry (Helga), Gareth Marks, Julian Littman, Alexandra Worrall
Commentaires : The attempts to turn these unsavoury characters into warm-hearted, loveable Soho folk, even included the winos sleeping in the gutters suddenly joining in a jolly knees-up type chorus. This was Adam Faith’s musical theatre debut, and a number of people asked “What’s a nice guy like you doing in a show like this?”

Version 30

Cagney (2016-03-Westside Theatre Upstairs-Off Broadway)

Type de série: Original
Théâtre: Westside Theatre Upstairs (Broadway (Off) - Etats-Unis)
Durée : 9 mois 1 semaine Se joue actuellement
Nombre :
Première Preview : mercredi 16 mars 2016
Première : dimanche 03 avril 2016
Dernière : Open end, ouvert actuellement jusqu'au dim. 08 janvier 2017
Mise en scène : Bill Castellino
Chorégraphie : Josh Bergasse
Producteur :
Avec : Robert Creighton (James Cagney), Jeffry Denman, Danette Holden, Bruce Sabath, Josh Walden, Ellen Zolezzi

Version 31

Call me Merman (2003-12-King's Head Theatre-London)

Type de série: Original
Théâtre: King's Head Theatre (Londres - Angleterre)
Durée : 1 mois
Nombre :
Première Preview : mardi 30 décembre 2003
Première : mardi 30 décembre 2003
Dernière : dimanche 01 février 2004
Mise en scène : David Kernan
Chorégraphie : Lindsay Dolan
Producteur :
Avec : Angela Richards {Ethel Merman), Susannah Fellowes (Kitty), Mark White (Arty), Michael Roberts, Fiz Shapur
Commentaires : The life-story of Ethel Merman, devised around a fictitious TV biography being made in Las Vegas. The rehearsal process allows characters to say things like “Shall we include the bit about. . .?” and then decide against it. In this way it enables the show to refer briefly to Merman’s disastrous series of ex-husbands and to skim through an incredible career, ranging from early vaudeville to the great days of Broadway musicals. In real life it seems Merman could be an A-List bitch and some of this creeps through the story, though much is sanitised. With Kitty playing the young Merman, Arty playing a fellow hoofer, and with some 33 of the songs forever associated with the incredible Merman, everything really hung on the central performance of Angela Richards, and, for most of the critics, she came through with shining colours.

Version 32

Can-Can! (2019-02-Union Theatre-London)

Type de série: Revival
Théâtre: Union Theatre (Londres - Angleterre)
Durée : 1 mois
Nombre :
Première Preview : mercredi 06 février 2019
Première : mercredi 06 février 2019
Dernière : samedi 09 mars 2019
Mise en scène : Christian Durham
Chorégraphie :
Producteur :

Version 33

Carnaby Street (1997-08-Arts Theatre-London)

Type de série: Original
Théâtre: Arts theatre (Londres - Angleterre)
Salle : Main Stage

Durée : 2 semaines
Nombre : 20 représentations
Première Preview : mercredi 06 août 1997
Première : jeudi 07 août 1997
Dernière : samedi 23 août 1997
Mise en scène : Terry John Bates
Chorégraphie : Richard Whennel
Producteur :
Avec : Kevin Curtin (Jude), Michelle Connolly (Lady Jane), Richard Shelton (Jumpin’ Jack), Danny Edwards (Lily the Pink), Gina Murray (Ruby Tuesday), Elizabeth Price (Rock Bottom)
Commentaires : Tacky, depressing, poor singing, over-amplified and incoherent sound, dreadful lyrics, monotonous music and dire choreography, merely a string of third rate songs (27 of them) played by a competent band and performed by an incompetent bunch of actors - these were just some of the words used by the critics. “Carnaby Street is certainly far out - though not far enough for my liking”.

Version 34

Cole (2004-05-Upstairs at Gatehouse-London)

Type de série: Revival
Théâtre: Upstairs at the Gatehouse (Londres - Angleterre)
Durée : 3 semaines
Nombre :
Première Preview : mercredi 26 mai 2004
Première : mercredi 26 mai 2004
Dernière : dimanche 20 juin 2004
Mise en scène : Racky Plews
Chorégraphie :
Producteur :
Avec : Angela Bleasdale, Tim McArthur, John Martin, Gemma Morsley, James Pearson, Nicolas Sagar, Lincoln Stone, Ollie Usiskin, Georgina Wyatt, Hara Yannas
Commentaires : This tribute to Cole Porter had last been seen in London twenty years earlier.

Version 35

Colette (1980-09-Comedy Theatre-London)

Type de série: Original
Théâtre: Harold Pinter Theatre (Londres - Angleterre)
Durée :
Nombre : 47 représentations
Première Preview : Inconnu
Première : mercredi 24 septembre 1980
Dernière : Inconnu
Mise en scène : Wendy Toye
Chorégraphie :
Producteur :
Avec : John Moffatt (Narrator), Cleo Laine (Colette), Kenneth Nelson
Commentaires : It was originally staged at the Dankworth’s converted stable theatre at their home in Wavendon to an audience of their friends, but it did not make a good transition to a West End theatre.
The Daily Mail critic said : “...as an entertainment it has not strayed far from the village hall which, come to think of it, is where it began.”

Version 36

Copacabana (1994-06-Prince of Wales Theatre-London)

Type de série: Original London
Théâtre: Prince of Wales Theatre (Londres - Angleterre)
Durée : 1 an 2 mois 2 semaines
Nombre : 525 représentations
Première Preview : jeudi 23 juin 1994
Première : jeudi 23 juin 1994
Dernière : samedi 09 septembre 1995
Mise en scène : Roger Redfarn
Chorégraphie : Dorian Sanchez
Producteur :
Avec : Gary Wilmot (Tony/Stephen), Nicola Dawn (Lola), Richard Lyndon (Rico), Anna Nicholas (Conchita), Howard Attfield (Sam), Jenny Logan (Gladys), Duncan Smith (McManus)
Commentaires : A lavish production wit loads of feathers, glitz and computerised effects, said to be filled with girls with pineapples on their heads and fruit around their genitalia - the critics praised the cast, but hated the show. The legions of Barry
Manilow fans kept it running for fifteen months, although the business fell away once Gary Wilmot left the cast (he was replaced by Darren Day towards the end of the first year).

Version 37

Dancing in the streets (2005-07-Cambridge Theatre-London)

Type de série: Original
Théâtre: Cambridge Theatre (Londres - Angleterre)
Durée : 9 mois 1 semaine
Nombre :
Première Preview : vendredi 08 juillet 2005
Première : mardi 19 juillet 2005
Dernière : samedi 22 avril 2006
Mise en scène : Keith Strachan
Chorégraphie : Carole Todd
Producteur :
Commentaires : Opened Cambridge Theatre 8 July 2005, transferred to Aldwych 27 April 2006, transferred to Playhouse 1 Aug 2006

Version 38

Dancing in the streets (2006-05-Aldwych Theatre-London)

Type de série: Original
Théâtre: Aldwych Theatre (Londres - Angleterre)
Durée : 2 mois 2 semaines
Nombre :
Première Preview : jeudi 27 avril 2006
Première : jeudi 04 mai 2006
Dernière : samedi 22 juillet 2006
Mise en scène : Keith Strachan
Chorégraphie : Carole Todd
Producteur :
Commentaires : Opened Cambridge Theatre 8 July 2005, transferred to Aldwych 27 April 2006, transfers to Playhouse 1 Aug 2006
Presse : DOMINIC CAVINDISH for THE DAILY TELEGRAPH says, "The company sing not just with hark-at-us virtuosity but with unbridled soulfulness. They remind you why these songs are timeless, catching the melancholy and heartache that run through the most up-tempo, infectiously jaunty numbers."

IAN SHUTLEWORTH for THE FINANCIAL TIMES says, "Where is the fun in watching people who are not the real thing?"

CAROLINE SULLIVAN for THE GUARDIAN says, "There's no history or attempt at social contextualisation, which is scandalous given Motown's critical role in bringing black music into the mainstream."

CLIVE DAVIS for THE TIMES says, "YES, it’s only a juke-box musical...But when the juke-box is as potent as this, the usual reservations can be laid to one side. As a celebration of the Motown era, Dancing in the Streets has enough verve and unabashed high spirits to win over all but the most curmudgeonly audiences."

Version 39

Dancing in the streets (2006-08-Playhouse Theatre-London)

Type de série: Original
Théâtre: Playhouse Theatre (Londres - Angleterre)
Durée : 11 mois 2 semaines
Nombre :
Première Preview : mardi 01 août 2006
Première : mardi 01 août 2006
Dernière : samedi 14 juillet 2007
Mise en scène :
Chorégraphie :
Producteur :

Version 40

Dear anyone (1983-11-Cambridge Theatre-London)

Type de série: Original
Théâtre: Cambridge Theatre (Londres - Angleterre)
Durée : 2 mois
Nombre : 65 représentations
Première Preview : Inconnu
Première : mardi 08 novembre 1983
Dernière : samedi 07 janvier 1984
Mise en scène : David Taylor
Chorégraphie : Tudor Davies
Producteur :
Avec : Jane Laportaire (Mercedes), Peter Blake (Danny), Stubby Kaye (Harry), Stephanie Voss (Mildred), Ian Burford, Tracie Hart, Richard Kates, Buster Skeggs

Version 41

Disgracefully yours (1996-03-Comedy Theatre-London)

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

Durée : 2 semaines
Nombre : 21 représentations
Première Preview : lundi 18 mars 1996
Première : mercredi 20 mars 1996
Dernière : samedi 06 avril 1996
Mise en scène : Christopher Malcolm
Chorégraphie : Stacey Haynes
Producteur :
Avec : Richard O’Brien (Mephistopheles Smith), Michael Dalton, Debbie Scamp, Nikki Shaw, Dave Brown, Les Davidson, Nick Payn, Bill Robinson, Ed Spevock
Commentaires : Originally staged at the previous year’s Edinburgh Festival, this was booked into the Comedy for a limited three week run (21 performances). The critics unanimously stated this was 21 performances too many. Neil Smith for “What’s On” was representative when he wrote: “If you’re the kind of a person who likes to spend a night on the town in bondage and fishnets, you’ll probably have a ball. But if you’re the type who balks at the prospect of a bald 54-year-old making a complete dick of himself, you’d best steer well clear”

Version 42

Dorian (1997-09-Arts Theatre-London)

Type de série: Original
Théâtre: Arts theatre (Londres - Angleterre)
Salle : Main Stage
Durée : 1 mois
Nombre :
Première Preview : jeudi 25 septembre 1997
Première : lundi 29 septembre 1997
Dernière : samedi 01 novembre 1997
Mise en scène : Mehmet Ergen
Chorégraphie : Karen Rabinowitz
Producteur :
Avec : Marcello Walton (Dorian), Nicholas Pound (Henry), Mark Huggins (Basil), Eliza Lumley (Sybil).
Commentaires : A sung-through musical with a three-piece band and a cast of twelve, this was effectively a vanity production - nearly all the work of one man, David Reeves. The classic Oscar Wilde story of a man who stays young and beautiful while his portrait shows the signs of his age and decadence was intended as a study of the distance between appearance and truth. This adaptation lacked any subtlety, depth or wit and was unanimously damned as a dreadful waste of time. It lasted just one week.

Version 43

Dr Foster (2005-10-Menier Chocolate Factory-London)

Type de série: Original
Théâtre: Menier Chocolate Factory (Londres - Angleterre)
Durée : 2 semaines
Nombre :
Première Preview : jeudi 20 octobre 2005
Première : jeudi 20 octobre 2005
Dernière : samedi 05 novembre 2005
Mise en scène : Adrian Schiler
Chorégraphie : Lynn Page
Producteur :
Avec : Rachel Pickup (Dr Foster), Zubin Varla (Mephistopheles), Sergio Covino (Archangel Gabriel), Emily Watcher (Yummy), Anna Lowe (Lovely)
Commentaires : A very thin plot, but there was some praise for the composing debut of Malcolm Newton.

Version 44

Eastward Ho! (1981-07-Mermaid Theatre-London)

Type de série: Original
Théâtre: Mermaid Theatre (Londres - Angleterre)
Durée : 1 mois 1 semaine
Nombre : 65 représentations
Première Preview : Inconnu
Première : mardi 07 juillet 1981
Dernière : samedi 15 août 1981
Mise en scène : Robert Chetwynd
Chorégraphie : Charles Augins
Producteur :
Avec : Richard O’Brien (Quicksilver), Paul Whitman (Golding), Prue Clarke (Mildred), Anita Dobson (Gertrude), Philip Sayer (Sir Petronel Flash), Mark Rylance, Vivienne Ross, Susan Beagley, Belinda Sinclair, Hugh Futcher
Commentaires : This was a musical version of the Ben Jonson/George Chapman play set in the City of London and alongside the Thames in the 17th Century . With its almost formulaic pattern to earlier Mermaid musicals - lying, cheating, fornicating, stealing to the strains of loud music and over-the-top performances - this was a flop. It was the first show in the newly rebuilt Mermaid following major re-development, and sadly was the beginning of a downward turn in the Mermaid’s fortunes.

Version 45

Emil und die Detektive (2002-03-Operettenhaus-Hamburg)

Type de série: Revival
Théâtre: Operettenhaus (Hambourg - Allemagne)
Durée : 1 mois 1 semaine
Nombre :
Première Preview : lundi 25 mars 2002
Première : lundi 25 mars 2002
Dernière : dimanche 05 mai 2002
Mise en scène : Michael Pinkerton
Chorégraphie :
Producteur :

Version 46

Faust - The Musical (1979-07-Young Vic-London)

Type de série: Original
Théâtre: Young Vic Theatre (Londres - Angleterre)
Salle : Main Stage
Durée :
Nombre :
Première Preview : Inconnu
Première : mercredi 04 juillet 1979
Dernière : Inconnu
Mise en scène : Michael Bogdanov
Chorégraphie :
Producteur :
Avec : Micky O’Donoghue/ Ian Taylor/ Bill Wallis/ Bev Willis (Faust), Tina Jones (Margaret), James Carter {Mephistopheles), Kate Versey, Laura Cox, John Darrell
Commentaires : Four different actors played Faust at various times in his life, and some of the cast were played by oversized puppets. It was a political-morality-rock musical

Version 47

Ferry cross the mercey (1996-08-Lyric Theatre-London)

Type de série: Original
Théâtre: Lyric Theatre (Londres - Angleterre)
Durée : 3 semaines
Nombre : 32 représentations
Première Preview : lundi 05 août 1996
Première : lundi 12 août 1996
Dernière : samedi 07 septembre 1996
Mise en scène : Carole Todd
Chorégraphie : Carole Todd
Producteur :
Avec : Gerry Marsden {Himself), Carl Krishner (Young Gerry), Jaison Beeson, Neil Dale, Richard Mogendorf. Adam Keast, Andy Cairns, Jacqui Cryer, Sean Fitzpatrick, Vicki Stevens, Kevin Jackson, Sam Kelly.
Commentaires : Described as “charitable, gentle and inoffensive, more a concert than a musical”, Gerry Marsden’s genuinely nice and sunny personality charmed most of the critics. It ran 8 weeks.

Version 48

Follow my leader (2004-04-Hampstead Theatre Main stage-London)

Type de série: Original
Théâtre: Hampstead Theatre (Londres - Angleterre)
Salle : Main Stage
Durée : 3 semaines
Nombre :
Première Preview : lundi 26 avril 2004
Première : lundi 26 avril 2004
Dernière : samedi 22 mai 2004
Mise en scène :
Chorégraphie :
Producteur :
Avec : Jason Durr (Tony Blair), Stuart Milligan (George Bush), Peter Poycarpou (God/Comical Ali/Osama bin Laden, etc), Sevan Stephan (Clare Short, Iraqi newsreader, etc.), Martyn Ellis, Dawn Hope, Nicola Hughes, Paul J. Medford, Giles New, Warren Wills.
Commentaires : Very few musicals of political-satire ever get beyond a fringe-type try out, but this one transferred from the prestigious Birmingham Rep and boasted one of the most talented and respected casts in London theatre. In spite of this, the general reaction was one of distaste and disdain for its feeble unfocused satire on soft targets. “Witless, weak and drab” was the verdict.

Version 49

Gambler (The) (1986-07-Comedy Theatre-London)

Type de série: Revival
Théâtre: Harold Pinter Theatre (Londres - Angleterre)
Durée : 1 mois
Nombre : 45 représentations
Première Preview : mercredi 02 juillet 1986
Première : mercredi 09 juillet 1986
Dernière : samedi 09 août 1986
Mise en scène :
Chorégraphie :
Producteur :
Avec : Paul Brown, Philip Davis, Bob Goody, Mel Smith
Commentaires : A highly individual musical show making a story of gambling addiction, with scenes taking place in the race track, the enclosure bar, pubs, clubs and a dog track, with a cast of just four men creating a whole array of characters like punters, tipsters, pros, cons, floosies, narks and “heavies”. A four-piece band was onstage throughout the show. The show opened at the Hampstead Theatre on April 10th and transferred for a five week run at the Comedy. (This was based on an earlier version of the show performed in 1980 at the Bull and Gate in Kentish Town.)

Version 50

Garden (2000-08-Olivier Theatre-NT-London)

Type de série: Original
Théâtre: National Theatre (Londres - Angleterre)
Salle : Olivier Theatre
Durée : 1 mois 3 semaines
Nombre : 46 représentations
Première Preview : samedi 29 juillet 2000
Première : jeudi 03 août 2000
Dernière : samedi 23 septembre 2000
Mise en scène : Alan Ayckbourn
Chorégraphie :
Producteur :
Avec : Jane Asher, David Haig, Suzy Aitchison, Malcolm Sinclair, James Bradshaw, Peter Laird, Alexandra Mathie, Adrian McLoughlin, Antonia Pemberton, Michael Siberry, Nina Sosanya, Sian Thomas, Zabou Breitman, Robin Browne, Andrew Fallaize, Charlie Hayes, Penelope McGhie, Trevor Nichols, Deborah O Malley, Nina Sosanya, Leonie Wilde.
Commentaires : HOUSE and GARDEN (1999)
two linked plays by Alan Avckbourn
The London premieres of two new connected Alan Ayckbourn plays which are performed in the olivier and Lyttelton simultaneously. The same actors appear in both productions, one of which is set in the interior of a house while the other is set outside. However, the plays can be seen as individual comedies!
Presse : THE INDEPENDENT says, "You don't need to be the fortune-teller at the climactic fete to predict that the National have a nice, safe middlebrow summer hit." THE DAILY TELEGRAPH says, " Some of his (Alan Ayckbourn) finest, and deepest comedy." ROBERT GORE-LANGTON for THE DAILY EXPRESS says, "The Weakness of this production is that it's so unbalanced. House is a vintage comedy while Garden is anything but....Still, taken together this is an undeniably larky summer event." THE GUARDIAN says, "It is not just a triumph of theatrical logistics: Ayckbourn has important things to say about the moral mayhem of life." THE TIMES says, "The Ingenuity is even greater than in his tripartite Norman Conquests 30 years ago." NICHOLAS DE JONGH for THE EVENING STANDARD gave the show a luke-warm response saying, "Once exposed to the comedic pleasures of House and Garden, you see there's much less to the spectacular novelties than first meets the interested eye." JOHN PETER for THE SUNDAY TIMES says, "Haig gives one of the best performances of his career" He goes on to say, "Of the two plays, Garden is the weaker....Garden is noticeably more incomplete: things happen for no apparent reason, as if some necessary explanation had been withheld." PETER HEPPLE for THE STAGE says, As they share the same plot, it is not strictly necessary to see both, though the rewards are greater, in other words the second play is all the better for having seen the first." JANE EDWARDES for TIME OUT says, "If you were only to see one play, enter the 'House' alone; if you were to see both, visit the 'Garden' first."

Version 51

Girlfriends (1987-10-Playhouse Theatre-London)

Type de série: West End Transfer
Théâtre: Playhouse Theatre (Londres - Angleterre)
Durée : 1 mois
Nombre : 43 représentations
Première Preview : Inconnu
Première : vendredi 16 octobre 1987
Dernière : samedi 21 novembre 1987
Mise en scène : John Rettalack
Chorégraphie : Stuart Hopps
Producteur :
Avec : Caroline Mander (Amy), Fletcher Mathers (Brenda), Sara Weymouth (Carol), Hazel O’Connor (Phyllis), Donna Champion, Clare Burt, Jenna Russell, Julie Jupp, Norma Attalah, Tracy Halsey, Tina Jones, David Easter.
Commentaires : Originally produced at the Oldham Coliseum, this was considerably re-written for the West End, and was a virtually sung-through piece, with very little linking dialogue. The music was praised, but the lyrics and book came in for a lot of criticism. All in all, it was considered an honourable failure.

Version 52

Great Balls of Fire (1994-04-Lyric Hammersmith-London)

Type de série: Original
Théâtre: Lyric Hammersmith (Londres - Angleterre)
Durée : 2 semaines
Nombre :
Première Preview : mercredi 20 avril 1994
Première : mercredi 20 avril 1994
Dernière : samedi 07 mai 1994
Mise en scène : David Graham
Chorégraphie : Laurel Ford
Producteur :
Avec : Mike Berry (Archie), Georgina Field (May-Ellen), Grantley Buck (Frankie), Julie Livesey (Sherry), Jack Pinder (Eddie), Jason Baron (Ritzi), Miles Danso (Dumbo), Mark Sangster (Skunk)
Commentaires : From the Evening Standard: “ (At one point). . . Archie yells jubilantly ‘Are we gonna have some fun tonight or what?’ I’d say it falls into the ‘or what’ category.”

Version 53

Great Balls of Fire (1999-10-Cambridge Theatre-London)

Type de série: Original
Théâtre: Cambridge Theatre (Londres - Angleterre)
Durée : 2 mois 1 semaine
Nombre : 85 représentations
Première Preview : vendredi 01 octobre 1999
Première : mercredi 06 octobre 1999
Dernière : samedi 18 décembre 1999
Mise en scène : Simon Usher
Chorégraphie : Tim Flavin
Producteur :
Avec : Billy Geraghty (Jerry Lee Lewis), Neil Henry (Young Jerry), Heather-Jay Jones (Myra), John Bannister, Kim Bretton, Amelda Brown, Eddie Burton, Stuart Callaghan, Simon Fogg, Liam Grundy
Commentaires : The life-story of Jerry Lee Lewis could have been an amazing evening in the theatre - two bigamous marriages, wife number three being 13 years old, two sons dying in accidents, being arrested outside Graceland brandishing a gun and demanding to see Elvis, shooting his bass player while blasting holes in his office door - but, no! This was a highly sanitised version of his life: Jerry – criticised for jazzing up hymns at Bible college, then the cliché moment when the hostile record producer suddenly realises the hick lad has got talent, skipping very lightly over the marriages, and then the obligatory rock concert with all the well-known Jerry Lee Lewis hits.
However, this show was saved by an amazing performance from Billy Geraghty as the older Jerry, and audiences loved it (though the critics were not so keen). It ran for nine weeks.
Presse : "The curtain went up so late on the opening night of Great Balls Of Fire that the evening threatened to last longer than some of Jerry Lee Lewis's marriages. But this trawl through the turbulent life of one of rock's early superstars, electrifyingly directed by Simon Usher, was worth waiting for. Todd Ristau and Richard Cameron have written a warts-and-all script charting the progress of the man nicknamed The Killer, from poverty to such hits as the title song and Whole Lotta Shakin' Goin' On and the marriages and mayhem beyond. Billy Geraghty's astonishing performance as Jerry Lee is a potential award-winner. Geraghty sings better than the original, plays the piano with equal flamboyance and flair and acts convincingly to involve a rapt audience in the classic poor-boy-makes-good plot... If you love the golden age of rock, do not miss Great Balls Of Fire. It will set your soul ablaze." The News of the World
"Billy Geraghty sets the piano and stage alight as Jerry Lee Lewis in Great Balls of Fire at the Cambridge Theatre. The flames may be fake but the excitement is real when he hits the ivories as the American rock'n'roller they call The Killer... The musical is more than just another excuse for a '50s pop concert. It traces the rise and fall of the boy from the Bible Belt whose private life was as wild as his piano playing... Geraghty has a real ball. He belts out the hits, and in the spectacular finale he bangs the keyboard with his fists, his backside and his feet until it is not only his blond wig that is all shook up - so is the audience. The Killer knocks 'em dead." The Daily Mirror
"They called him the wild man of rock'n'roll. But, judging by this sanitised bio-show about Jerry Lee Lewis, they might equally well have dubbed him Goody Two Shoes. Ending with his reincarnation as a country singer at the Grand Ole Opry in the late 60s, the show has nothing to say about his last three wives, his inadvertent shooting of his bass player or his arrival outside Graceland with a gun demanding to see Elvis. Written by Todd Wm Ristau and Richard Cameron, the show is largely an excuse to get the songs on as quickly as possible... Happily, Lewis is still alive and working, which may explain the show's mincing caution about his private life. But clearly what the audience has come for is the songs rather than the story and for Billy Geraghty's impersonation of the hero. Looking more like Michael Caine than Jerry Lee Lewis, Geraghty certainly works up a storm pounding the piano with fingers, bum and boot and sending stool and lid crashing into the wings... But for all the verve of Neil McArthur's arrangements, there are long passages of tedium between the numbers and you end up learning little about what made Jerry Lee run. The result is a piece of Tussaud-theatre with decibels on." The Guardian

Version 54

Happy Returns (1938-05-Adelphi Theatre-London)

Type de série:
Théâtre: Adelphi Theatre (Londres - Angleterre)
Durée :
Nombre :
Première Preview : jeudi 19 mai 1938
Première : jeudi 19 mai 1938
Dernière : Inconnu
Mise en scène :
Chorégraphie :
Producteur :

Version 55

Have a nice life (2003-05-Pleasance Theatre-London)

Type de série: Original
Théâtre: Pleasance Theatre - Main Stage (Londres - Angleterre)
Durée : 3 semaines
Nombre :
Première Preview : jeudi 29 mai 2003
Première : jeudi 29 mai 2003
Dernière : dimanche 22 juin 2003
Mise en scène : Conor Mitchell
Chorégraphie :
Producteur :
Avec : Chris Robinson (Neville), Richard Clements (Frank), Mary Moulds (Barbara), Rachel Murray (Amy), Emma Little (Sheila), Karen Rush (Jean), Joe Rea (Chris)
Commentaires : Originally developed at the Group Theatre in Belfast and staged at the 2002 Edinburgh Festival under the title “Closure”, this clearly owed a lot in its format to “Chorus Line”. It had been a great hit at Edinburgh but did not receive the same sort of reaction in London.

Version 56

Heiress (The) (2000-06-Lyttelton Theatre-NT-London)

Type de série: Revival
Théâtre: National Theatre (Londres - Angleterre)
Salle : Lyttelton Theatre
Durée : 3 semaines
Nombre : 20 représentations
Première Preview : jeudi 08 juin 2000
Première : mardi 13 juin 2000
Dernière : mardi 04 juillet 2000
Mise en scène : Philip Franks
Chorégraphie :
Producteur :
Avec : Ann Bell, Eve Best, Caroline Faber, Alan Howard, Vincent Penfold, Liza Sadovy, Sohie Shaw, Maggie Steed.

Version 57

Helden, Helden (1972-10-Theater an der Wien-Vienne)

Type de série: Original
Théâtre: Theater an der Wien (Vienne - Autriche)
Durée :
Nombre :
Première Preview : vendredi 27 octobre 1972
Première : vendredi 27 octobre 1972
Dernière : Inconnu
Mise en scène : Rolf Kutschera
Chorégraphie : Rolf Boktdec
Producteur :

Version 58

High Jinks (1916-08-Adelphi Theatre-London)

Type de série: Original London
Théâtre: Adelphi Theatre (Londres - Angleterre)
Durée :
Nombre :
Première Preview : jeudi 24 août 1916
Première : jeudi 24 août 1916
Dernière : Inconnu
Mise en scène :
Chorégraphie :
Producteur :

Version 59

Hot Shoe Shuffle (1994-03-Queen's Theatre-London)

Type de série: Original
Théâtre: Sondheim Theatre (Londres - Angleterre)
Durée : 5 mois
Nombre : 175 représentations
Première Preview : mardi 22 mars 1994
Première : mardi 22 mars 1994
Dernière : samedi 20 août 1994
Mise en scène : David Atkins
Chorégraphie : David Atkins • Dein Perry
Producteur :
Avec : David Atkins, Dean Perry, Kevin Coyne, Christopher Horsey, Sheldon Perry, Dale Pengelly, Adam Garcia, Rhonda Burchmore, Jack Webster
Commentaires : Seven brothers and their newly discovered sister must learn their late father’s tap-dancing routines in order top inherit millions. Starting off comically bumping into each other a lot, and ending up dancing with tremendous vitality and flair - the show is an excuse for a song and dance exhibition “which a generation ago would have been a speciality act in a revue and is now elevated to an entire evening’s entertainment.”

1995 Olivier Award Winner - Best Choreography

Version 60

House (2000-08-Lyttelton Theatre-NT-London)

Type de série: Original
Théâtre: National Theatre (Londres - Angleterre)
Salle : Lyttelton Theatre
Durée : 1 mois 3 semaines
Nombre : 46 représentations
Première Preview : samedi 29 juillet 2000
Première : jeudi 03 août 2000
Dernière : samedi 23 septembre 2000
Mise en scène : Alan Ayckbourn
Chorégraphie :
Producteur :
Avec : Jane Asher, David Haig, Suzy Aitchison, Malcolm Sinclair, James Bradshaw, Peter Laird, Alexandra Mathie, Adrian McLoughlin, Antonia Pemberton, Michael Siberry, Nina Sosanya, Sian Thomas, Zabou Breitman, Robin Browne, Andrew Fallaize, Charlie Hayes, Penelope McGhie, Trevor Nichols, Deborah O Malley, Nina Sosanya, Leonie Wilde.
Commentaires : HOUSE and GARDEN (1999)
two linked plays by Alan Avckbourn
The London premieres of two new connected Alan Ayckbourn plays which are performed in the olivier and Lyttelton simultaneously. The same actors appear in both productions, one of which is set in the interior of a house while the other is set outside. However, the plays can be seen as individual comedies!
Presse : THE INDEPENDENT says, "You don't need to be the fortune-teller at the climactic fete to predict that the National have a nice, safe middlebrow summer hit." THE DAILY TELEGRAPH says, " Some of his (Alan Ayckbourn) finest, and deepest comedy." ROBERT GORE-LANGTON for THE DAILY EXPRESS says, "The Weakness of this production is that it's so unbalanced. House is a vintage comedy while Garden is anything but....Still, taken together this is an undeniably larky summer event." THE GUARDIAN says, "It is not just a triumph of theatrical logistics: Ayckbourn has important things to say about the moral mayhem of life." THE TIMES says, "The Ingenuity is even greater than in his tripartite Norman Conquests 30 years ago." NICHOLAS DE JONGH for THE EVENING STANDARD gave the show a luke-warm response saying, "Once exposed to the comedic pleasures of House and Garden, you see there's much less to the spectacular novelties than first meets the interested eye." JOHN PETER for THE SUNDAY TIMES says, "Haig gives one of the best performances of his career" He goes on to say, "Of the two plays, Garden is the weaker....Garden is noticeably more incomplete: things happen for no apparent reason, as if some necessary explanation had been withheld." PETER HEPPLE for THE STAGE says, As they share the same plot, it is not strictly necessary to see both, though the rewards are greater, in other words the second play is all the better for having seen the first." JANE EDWARDES for TIME OUT says, "If you were only to see one play, enter the 'House' alone; if you were to see both, visit the 'Garden' first."

Version 61

I Want My Hat Back (2015-11-The Shed-NT-London)

Type de série:
Théâtre: National Theatre (Londres - Angleterre)
Salle : The Shed
Durée : 1 mois 3 semaines
Nombre :
Première Preview : jeudi 12 novembre 2015
Première : jeudi 12 novembre 2015
Dernière : samedi 02 janvier 2016
Mise en scène : Wils Wilson
Chorégraphie :
Producteur :
Commentaires : Jon Klassen’s brilliant, witty book was published in 2011, and has fast become a modern children’s classic. I Want My Hat Back now comes to the stage in a joyous new adaptation stuffed with humour, music and surprises.

Version 62

Importance (The) (1984-05-Ambassadors Theatre-London)

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

Durée : 2 semaines
Nombre : 29 représentations
Première Preview : Inconnu
Première : jeudi 31 mai 1984
Dernière : samedi 16 juin 1984
Mise en scène : Tony Craven
Chorégraphie : Sheila O'Neill
Producteur :
Avec : Patrick Ryecart (Jack Worthing), David Firth (Algernon), Judy Campbell (Lady Bracknell), Ruth Mayo (Gwendolen), Karen Lancaster (Cecily), Sheila Bernette (Miss Prism), Robert Doming (Dr Chasuble)
Commentaires : Oscar Wilde’s “Importance of Being Earnest”, had previously been adapted into a musical on several occasions, but never with any real success. This 1984 version by Sean O’Mahoney was the only one to date to reach the West End , though it only managed a very short run. Earlier attempts included “Found in a Handbag” (1957), with music by Allon Bacon, staged at Margate and “Half in Ernest” (1958), with music by Vivian Ellis which ended its pre-West End tour out of town (although it did get a later production in the USA). Other attempts included “Ernest in Time, or My Dark Gentleman” (1958) with music by John de Gray, staged at Canterbury, and “Ernest” (1959) with music by Malcolm Sircom, staged at Farnham. It was said the play is so perfect that the songs seemed like intrusions into the familiar and much-loved dialogue.

Version 63

Jabberwocky (2018-04-The Other Palace-London)

Type de série: Original
Théâtre: The Other Palace (Londres - Angleterre)
Salle : Main Theatre
Durée : 1 semaine
Nombre :
Première Preview : samedi 07 avril 2018
Première : samedi 07 avril 2018
Dernière : samedi 14 avril 2018
Mise en scène : Luke Sheppard
Chorégraphie : Heather Douglas
Producteur :

Version 64

Jean Seberg (1983-12-National Theatre-Olivier Theatre-London)

Type de série:
Théâtre: National Theatre (Londres - Angleterre)
Salle : Olivier Theatre
Durée : 4 mois
Nombre :
Première Preview : mardi 15 novembre 1983
Première : jeudi 01 décembre 1983
Dernière : mercredi 04 avril 1984
Mise en scène : Peter Hall
Chorégraphie : Irvin Davies
Producteur :
Avec : Kelly Hunter (Young Jean) Elizabeth Counsell (Older Jean), Joss Ackland (Romain Gary), John Savident (Otto Preminger), David Ryall (J. Edgar Hoover), Josephine Blake (Kate Devlin)
Commentaires : The show starts with her preparing the suicide, and then in a flashback fantasises a re-shooting of the Joan of Arc trial which merges into Jean Seberg’s trial, with the prosecutor being J. Edgar Hoover. Running in repertoire, it closed on April 4th 1984, having lost £800,000.

Version 65

Judy (1984-12-Greenwich Theatre-London)

Type de série: Original
Théâtre: Greenwich Theatre (Londres - Angleterre)
Durée :
Nombre : 58 représentations
Première Preview : Inconnu
Première : mercredi 18 décembre 1985
Dernière : Inconnu
Mise en scène : John David
Chorégraphie :
Producteur :
Avec : Leslie Mackie (Judy Garland), Lewis Cowen (Louis B. Meyer/Sid Luft), Philip Childs (Vincent Minelli, etc.), Ray Davison (Mickey Rooney, etc.), Paul Downing (Mark Herron, etc), Buster Skeggs (Louella Parsons), Alison Skilbeck (Hedda Hopper), Adeen Fogle, James Gavin, Tim Hardy, David Bauckham, Carolyn Moody
Commentaires : The author, Terry Wale, was married to Leslie Mackie. Unfortunately the show did not run very long once it had transferred to the Strand and closed within seven weeks. However, Lesley Mackie won the 1986 Olivier Award for Best Actress in a Musical for this show.

Version 66

Judy (1986-03-Strand Theatre-London)

Type de série: West End Transfer
Théâtre: Novello Theatre (Londres - Angleterre)
Durée :
Nombre : 46 représentations
Première Preview : Inconnu
Première : mercredi 26 mars 1986
Dernière : Inconnu
Mise en scène : John David
Chorégraphie :
Producteur :
Avec : Leslie Mackie (Judy Garland), Lewis Cowen (Louis B. Meyer/Sid Luft), Philip Childs (Vincent Minelli, etc.), Ray Davison (Mickey Rooney, etc.), Paul Downing (Mark Herron, etc), Buster Skeggs (Louella Parsons), Alison Skilbeck (Hedda Hopper), Adeen Fogle, James Gavin, Tim Hardy, David Bauckham, Carolyn Moody
Commentaires : The author, Terry Wale, was married to Leslie Mackie. Unfortunately the show did not run very long once it had transferred to the Strand and closed within seven weeks. However, Lesley Mackie won the 1986 Olivier Award for Best Actress in a Musical for this show.
Transfered from Greenwich Theatre.

Version 67

Jukebox (1983-07-Astoria Theatre-London)

Type de série: Original
Théâtre: Astoria Theatre (Londres - Angleterre)
Durée :
Nombre : 172 représentations
Première Preview : Inconnu
Première : jeudi 14 juillet 1983
Dernière : Inconnu
Mise en scène : Steve Merritt
Chorégraphie : Steve Merritt
Producteur :
Avec : Allan Love, Donna Louise, Daliah Wood, Mark Tyme, Rosemarie Ford
Commentaires : An evening of song and dance featuring hot hits from the 1950s onwards - 67 different songs were listed in the programme, with a cast of 22 and an orchestra of 14 players - this was a concert rather than a musical.

Version 68

Ken Campbell's History of Comedy (2000-08-Cottesloe Theatre-NT-London)

Type de série: Original
Théâtre: National Theatre (Londres - Angleterre)
Salle : Dorfman Theatre
Durée : 1 semaine
Nombre : 11 représentations
Première Preview : vendredi 25 août 2000
Première : mardi 29 août 2000
Dernière : samedi 09 septembre 2000
Mise en scène : Colin Watkeys
Chorégraphie :
Producteur :
Avec : Ken Campbell
Commentaires : Part one: Ventriloquism

Version 69

Lennon - A legend reborn (1985-02-Astoria Theatre London)

Type de série: Original
Théâtre: Astoria Theatre (Londres - Angleterre)
Durée :
Nombre :
Première Preview : Inconnu
Première : lundi 11 février 1985
Dernière : Inconnu
Mise en scène : Bob Eaton
Chorégraphie :
Producteur :
Avec : Mark McGann (John Lennon), Jonathan Barlow, Ian Bums, Martyn Ellis, Mick O'Connor
Commentaires : Bob Eaton’s biographical version of the Lennon story was first launched in Liverpool in 1981, soon after the murder of John Lennon in New York. The production eventually transferred to the Astoria Theatre in London where it had a successful run, with Mark McGann being nominated for an Olivier Award for his performance. The show was prevented from any further productions when the rights were revoked after Michael Jackson acquired the Beatles back catalogue. Following the death of Jackson, permission was given for a revival in Liverpool in 2010. During the run Yoko Ono and Sean Lennon visited London and went to see the show, and after the show met up with the cast and Julian Lennon.
Le show s'est joué durant 8 mois, et c'est le dernier à avoir

Version 70

Let the Good Stones Roll (1978-03-Ambassadors Theatre-London)

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

Durée :
Nombre : 42 représentations
Première Preview : Inconnu
Première : mercredi 29 mars 1978
Dernière : Inconnu
Mise en scène : Tony Craven
Chorégraphie : Albin Pahernik
Producteur :
Avec : Louis Selwyn (Mick), James Bath (Charlie), Joss Buckley (Bill), Colin Copperfield (Keith), David Gretton (Brian), Sara Coward (Girl), Martin Smith (Boy)
Commentaires : Staged in the pretty and ornately decorated Ambassadors Theatre, in a shoestring production, with token attention paid to the story, and with all the surrounding characters treated as unpleasant caricatures, the show did not go down well with the critics, though many Stones fans were vociferous in their approval.

Version 71

Look to the Rainbow (1985-05-Apollo Theatre-London)

Type de série: West End Transfer
Théâtre: Apollo Theatre (Londres - Angleterre)
Durée : 1 mois
Nombre :
Première Preview : Inconnu
Première : mercredi 01 mai 1985
Dernière : samedi 01 juin 1985
Mise en scène : Robert Cushman
Chorégraphie : Dennis Grimaldi
Producteur :
Avec : Jack Gilford, Michael Cantwell, Isabelle Lucas, Mandy More, Barbara Rosenblatt, Simon Russell-Beale
Commentaires : Transfer from The Kings Head Theatre 6 March 1985 to 16 March 1985.
A biographical revue of the lyricist E. Y. “Yip” Harburg who wrote the words for composers such as Vernon Duke, Jerome Kern, Harold Arlen and others. The show had a short run at the King’s Head and then transferred to the Apollo theatre. Though highly praised by the critics, it lasted just one month. It marked one of the earliest London appearances of Simon Russell-Beale.

Version 72

Love's Prisoner (1925-02-Adelphi Theatre-London)

Type de série: Original
Théâtre: Adelphi Theatre (Londres - Angleterre)
Durée :
Nombre : 26 représentations
Première Preview : samedi 28 février 1925
Première : samedi 28 février 1925
Dernière : Inconnu
Mise en scène :
Chorégraphie :
Producteur :
Avec : Russell Macaulay, Fred Withers, Albert Hayzen, Kathleen Beldon, Dorothy Lane, Fred Vigay, Betty Faire, Ewart Scott, Helen Gilliland, James Lindsay, Harry Welchman, Dimitre Vetter

Version 73

Maddie (1997-09-Lyric Theatre-London)

Type de série: Original
Théâtre: Lyric Theatre (Londres - Angleterre)
Durée : 1 mois 1 semaine
Nombre : 48 représentations
Première Preview : lundi 22 septembre 1997
Première : lundi 29 septembre 1997
Dernière : samedi 08 novembre 1997
Mise en scène : Martin Connor
Chorégraphie : David Toguri • Jenny Arnold
Producteur :
Avec : Graham Bickley (Nick), Summer Rognlie (Jan/Maddie), Lynda Baron (Cordelia van Arc), Kevin Colson (AI), Beth Tuckey, Jon Rumney, Russell Wilcox, Michael A Elliott, Paddy Glynn, Louise Davidson, Nicola Filshie, Martin Parr.
Commentaires : Based on the novel “Marion’s Wall” by Jack Finney, and its film adaptation, “Maxie” with Glenn Close. The production was first staged at the Salisbury Playhouse, but it failed to find backing for a London transfer until the Daily Telegraph covered the story and more than a hundred of its readers became individual “angels”, raising some £150,000. It ran for six weeks and lost over half a million pounds.
Presse : NICHOLAS DE JONGH of the EVENING STANDARD echoes my thoughts, saying the show is " Balderdash, babble and baloney leading to a dead end" and goes on to say "It's a grim night."

PETER HEPPLE of THE STAGE thinks the same, describing the show as " lacking in wit" and "suffering an almost excruciatingly boring second half." Funnily enough I thought the second half was better than the first!! However, not all critics panned it.

JOHN PETER of THE SUNDAY TIMES says Maddie is " A real find"

THE DAILY TELEGRAPH says "The piece still strikes me as a breath of fresh air in the West End."

Version 74

Mandrake (1970-04-Criterion Theatre-London)

Type de série:
Théâtre: Criterion Theatre (Londres - Angleterre)

Durée :
Nombre : 12 représentations
Première Preview : jeudi 16 avril 1970
Première : jeudi 16 avril 1970
Dernière : Inconnu
Mise en scène : Anthony Bowles
Chorégraphie :
Producteur :

Version 75

Marilyn and Ella (2009-11-Apollo Theatre-London)

Type de série: West End Transfer
Théâtre: Apollo Theatre (Londres - Angleterre)
Durée : 2 semaines
Nombre :
Première Preview : dimanche 15 novembre 2009
Première : dimanche 15 novembre 2009
Dernière : dimanche 29 novembre 2009
Mise en scène : Colin McFarlane
Chorégraphie :
Producteur :
Avec : Suzie Kennedy (Marilyn Monroe), Hope Augustus
Commentaires : Interspersed with numerous hit songs from the era, including I Got Rhythm, My Funny Valentine, Every Time We Say Goodbye, Mack The Knife and Diamonds Are A Girl’s Best Friend, Marilyn And Ella is a true story brought vividly to life, featuring two of the most iconic females that ever lived.

Marilyn And Ella was first seen in London at the Theatre Royal Stratford East, where it was staged in 2008.

Version 76

Mata Hari (1982-10-Lyric Hammersmith Studio-London)

Type de série: Original
Théâtre: Lyric Hammersmith (Londres - Angleterre)
Durée :
Nombre :
Première Preview : Inconnu
Première : mardi 19 octobre 1982
Dernière : Inconnu
Mise en scène : Hilary Westlake
Chorégraphie :
Producteur :
Avec : Lene Lovich (Mata Hari), Rory Edwards, Jeremy Gittins, Peter Leabourne with Stephen Dixon & Simon Hall (Puppeteers)
Commentaires : Lene Lovich was not felt to have anything like the charisma which must have marked the real Mata Hari and, even though a lot of money had been invested in staging and costumes with a view to a transfer, the show quietly came to the end of its season and disappeared.

Version 77

Meet Me By Moonlight (1957-10-Aldwych Theatre-London)

Type de série: Original London
Théâtre: Aldwych Theatre (Londres - Angleterre)
Durée :
Nombre :
Première Preview : mardi 01 octobre 1957
Première : mardi 01 octobre 1957
Dernière : Inconnu
Mise en scène :
Chorégraphie :
Producteur :

Version 78

Mitford Girls (The) (1981-10-Globe Theatre-London)

Type de série: Original
Théâtre: Gielgud Theatre (Londres - Angleterre)
Durée :
Nombre : 105 représentations
Première Preview : Inconnu
Première : jeudi 08 octobre 1981
Dernière : Inconnu
Mise en scène : Patrick Garland
Chorégraphie : Lindsay Dolan
Producteur :
Avec : Patricia Hodge (Nancy & Muv), Lucy Fenwick (Jessica), Colette Gleeson (Unity), Patricia Michael (Diana), Gay Soper (Deborah), Julia Sutton (Pamela & Nanny Blore), Oz Clarke (Tom, Hamish, Farve, Peter Rodd), Martin Chamberlain (Esmond, Consul, Hitler)
Commentaires : First performed at the Chichester Festival Theatre July 8th. The critics hated it: “Brahms and Sherrin, having thoroughly processed their tasteless, textureless, bland and flavourless fakery, next proceed to douse it to saturation point in the more familiar sentimental melodies of the period.”

Version 79

Money to Burn (2003-09-The Venue-London)

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

Durée : 1 semaine
Nombre : 9 previews - 3 représentations
Première Preview : lundi 29 septembre 2003
Première : lundi 29 septembre 2003
Dernière : samedi 11 octobre 2003
Mise en scène : Daniel Abineri
Chorégraphie : Michele Thorne
Producteur :
Avec : Peter Blake (Lord OJ), Sarah-Louise Young (Lady Tiggy), Gabrielle Noble (Rosie Kane), Camilla (Angel), Perry Benson (Perkins), Tony Kemp (Hugo), Rachel Lynes, Graham Martin, Josephine Buchan
Commentaires : The show opened on Thursday 9th October (following nine days of previews) with advance bookings being accepted up to mid January 2004. The following morning and evening the newspaper reviews appeared: “Musical-comedy-thriller? It misses all three targets”, “jaw-droppingly dreadful”, “makes Thunderbirds puppets sound like Chekhov”, “a stinker”, “lyrics of unrivalled awfulness”, etc. After the 6.30pm early show on the Saturday the company was told the show was ending there and then - they didn’t even play the 9.15pm show. This was one of the swiftest disasters for many years.
Presse : "...Money to Burn is a shocker of a show by the actor Daniel Abineri... his lyrics and libretto are as dim as his chances of a box office success." The Daily Mail

"...This jaw-droppingly dreadful new musical... doesn't even make it into the cherished so-bad-it's-good category. Only at fleeting moments does its direness rise to the dizzy heights of sublimity... Daniel Abineri, who has Doth written and directed Money to Bum, confesses piognantly in a programme note that no fewer than 21 London producers turned the show down, yet one readily understands their reluctance... To his credit, Abineri has written some halfway decent tunes recalling the light music of the 1930s and '40s. But his crass lyrics, cack-handed plotting and dialogue that makes the Thunderbirds puppets sound like characters in Chekhov, ensure that the show goes down in a blushmaking orgy of embarrassment..." The Daily Telegraph

"London hasn't had one for a while, so in a way it's reassuring that a terrible musical has arrived in the West End. Connoisseurs of this sub-genre will be heartened to learn that Money to Bum is absolutely without merit. Yet elusive cult 'so-bad-it's-good' status is something of which it can only dream... Abineri aspires to satire, farce, kitsch and camp, but manages to miss each one by a staggering distance..." The London Evening Standard

'This subterranean space just off Leicester Square... plumbs the depths v/ith a show, written and directed by Daniel Abineri, that describes itself as a 'musical comedy thriller' and that manages to miss all three of its chosen targets..." The Guardian

Version 80

Mrs Wilson's Diary (1967-10-Criterion Theatre-London)

Type de série: Original
Théâtre: Criterion Theatre (Londres - Angleterre)
Durée :
Nombre : 175 représentations
Première Preview : mardi 24 octobre 1967
Première : mardi 24 octobre 1967
Dernière : Inconnu
Mise en scène :
Chorégraphie :
Producteur :
Commentaires : Créé au Theatre Royal, Stratford East le 21 septembre 1967

Version 81

Murderous instincts (2004-10-Savoy Theatre-London)

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

Durée : 1 semaine
Nombre :
Première Preview : lundi 27 septembre 2004
Première : jeudi 07 octobre 2004
Dernière : samedi 16 octobre 2004
Mise en scène :
Chorégraphie : Jhesus Aponte
Producteur :
Avec : Nichola McAuliffe (Edwina Buckingham), Arvid Larsen (Colin) , Natalie O’Donnell (Lauren), Jonathan D. Ellis (Miguel), Kevin Colson (Adolfo), Simon Clarke (Tweedman, the lawyer), John Capes (Homeless Man), Jhesus Aponte (Enrique), Janet Fuentes Torres (Graciela)
Commentaires : Billed as the “Salsa Comedy Murder Mystery”, written by Cinda Fox, heiress of the Firestone Rubber Company, and produced by her husband, Manny - this was a vanity production doomed from its earliest days. Several directors came and went: one, Bob Carlton, was publicly sacked by a screaming Manny in front of the matinee audience during a Norwich try-out; the second, Michael Rooney (son of Mickey) was forced to quit when refused a work permit, although he did (apparently!) attempt to direct it by telephone from Paris; pre-opening rumours suggested several other director casualties and finally no directing credit appeared - just last minute Murray Melvin and Syd Ralph billed as “Artistic Advisors”. The critics rocked with laughter - laughing at, rather than with, this “fantastically dreadful new musical” - and it was immediately referred to as “Suicidal Tendencies”. It closed after just one week.
Commentaires longs: Essai
Presse : PAUL TAYLOR for THE INDEPENDENT says,"Knock back a few mojitos first and you could end up having a ball. "
SAM MARLOWE for THE TIMES says, "It's crude, predictable, and not sufficiently melodramatic or daft to entertain even in the most superficial way."
LYN GARDNER for THE OBSERVER says, "Thoughts turn not to murder but to suicide during this misbegotten musical ."
KIERON QUIRKE for TIME OUT says, "Thi sterrible show makes for strangely easy viewing."
PETER HEPPLE for THE STAGE says, "It is a case of predictability meeting banality."

Version 82

My Nieces (1921-08-Aldwych Theatre-London)

Type de série: Original London
Théâtre: Aldwych Theatre (Londres - Angleterre)
Durée :
Nombre : 171 représentations
Première Preview : vendredi 19 août 1921
Première : vendredi 19 août 1921
Dernière : Inconnu
Mise en scène :
Chorégraphie :
Producteur :

Version 83

Nite Club Continental (1988-03-Playhouse Theatre-London)

Type de série: Original London
Théâtre: Playhouse Theatre (Londres - Angleterre)
Durée :
Nombre : 29 représentations
Première Preview : Inconnu
Première : mercredi 09 mars 1988
Dernière : Inconnu
Mise en scène : Dennis Deal
Chorégraphie : Dennis Deal
Producteur :
Avec : Ruth Madoc (Kay Goodman), Philip Gould (Mitch Dupre), Kathryn Evans (Dorothy Flynn), Peter Bishop (Sal), Stuart Milligan (Buck Holden)
Commentaires : At pains to point out this was a loving “pastiche” of sounds and styles of the 1950s , created with seriousness, accuracy and care, and already something of a cult hit following its Los Angeles triumph - its composer-director-choreographer Dennis Deal received almost universal derision from the critics. Ruth Madoc and Kathryn Evans mostly impressed, as did the backing trio of male chorus - but the show itself came to a swift end.

Version 84

No way to treat a Lady (1998-08-Arts theatre-London)

Type de série: Original
Théâtre: Arts theatre (Londres - Angleterre)
Salle : Main Stage
Durée : 2 semaines
Nombre : 25 représentations
Première Preview : mercredi 29 juillet 1998
Première : lundi 03 août 1998
Dernière : dimanche 23 août 1998
Mise en scène : Neil Marcus
Chorégraphie : Donna McKechnie
Producteur :
Avec : Paul Brown (Morris Brummell), Joan Savage (Flora Brummell), Tim Flavin (Christopher Gill), Donna McKechnie (Alexandra Gill, Mrs Sullivan, Carmella, Sadie), Joanna Riding (Sarah Stone), Bruce Alexander, Kate Graham, Clare Rimmer, James Spilling.
Commentaires : Based on the novel by William Goldman and the 1967 film starring Lee Remick and Rod Steiger, this had a top-class star cast appearing in what was generally regarded as London’s tackiest theatre and a very cheap production. Donna McKechnie playing all the murder victims and Kit’s mother, Joan Savage as a superbly funny Jewish mother, Tim Flavin, top-quality dancer and singer - all were highly praised, but the show itself received very mixed notices and ran just three weeks.

Version 85

Oh! What a Night (1999-08-Hammersmith Apollo Theatre-London)

Type de série: Original
Théâtre: Eventim Apollo (Londres - Angleterre)
Durée : 2 mois 1 semaine
Nombre : 84 représentations
Première Preview : mardi 27 juillet 1999
Première : jeudi 05 août 1999
Dernière : samedi 16 octobre 1999
Mise en scène : Kim Gavin
Chorégraphie : Kim Gavin
Producteur :
Avec : Michael Howe (Paul Bums), Kid Creole (Brutus T. Firefly), Lucy Moorby (Nikki), Dean Maynard (Jack), John Altman (Rocco), Will Mellor (Rik), Victoria Wilson-James (Roxie), Nigel Roche, Gary Lloyd, Rebecca Reaney, Tee-Jaye
Commentaires : This show originated in Manchester, and even though it had a somewhat complicated plot, it was effectively yet another compilation musical. It had two TV soap-operas stars and an American rock star in its cast, and was lavishly staged. However, it only managed a ten week run.
Presse : "If wall-to-wall Seventies disco hits are your idea of heaven, you may want to yank on your vintage hot pants and platform boots and make for the Apollo. Here you will be encouraged to boogie in the aisles and sing along: "Get up, get on up", That's the way - unuh, uhuh -1 like it" and, erm, so on. These golden oldies and many, many more are pumped out by the off-stage band and director Kim Gavin's all-singingy all-dancing cast in this retro compilation musical... Many of Gavin s cast are wooden actors with a risible nabit of standing in a line facing the front when supposedly chatting each other up. Still, Creole does get things rolling, narrating with spiwy pizazz. Howe is affably shambling. Though he looks a litle self-conscious, the multi-talented Mellor, 23, croons 'Easy like Sunday morning" mellifluously. And finally the dancing, led by the impossibly sexy Michelle McSween, is irresistible. Gavin's choreography, combining natty, synchronised high stretches with pumping, muscular thrusts, really does make you want to get up and get on down." The Daily Telegraph

"Cast a jaundiced eye over the productions currently clogging up London's West End, and You’ll reach the conclusion that all you need to barge your way into the tacky world of musicals is either a job lot of dead rock stars, like 4 Steps to Heaven, or a heap of elderly pop songs from a previous era, in the style of Soul Train. Oh! What A Night isn't the worst specimen you'll find. At least it has some semblance of a story, and the trio of scriptwriters have gestured vaguely in the direction of giving the characters some kind of individual identity... [The plot] has potential, but most or it gets lost in a smog or grindingly feeble jokes and insipid dialogue... Salvation, such as it is, arrives in the form of a barrage of disco classics, including everything from the Hustle, Car Wash and Play that Funky Music to YMCA and the Commodores’ Easy. The dandng is colourful and energetic, on an ingenious set which folds inside out to become either a Manhattan street scene or the Infernos spacious interior. Thanks to the feisty house band, the long finale based on Kool And The Gang's Celebration (not actually released until 1980, trainspotters!) turned into an extended rave which was by far the best part of the show. If you're going, disengage your brain first." The Guardian

"...Another compilation musical as dumb, energetic and irritating as an overexcited puppy. This one, which originated in Manchester, pegs 40 disco standards of the Seventies to a paper-thin plot centring on a New York nightclub, and enlists two soap actors and poor old Kid Creole - who must have fallen on hard times - to buttress its inanity. The dancing is good, the acting dreadful, the sets sumptuous and the costumes absurd. The songs do their funky groove thang on the rare occasions when they are properly audible... [The] story is only there to showcase the songs ana the hits come thick, fast, loud and incoherent. Many great tunes are belted out without consonants. Many are off-key or off-beat, while the charmless Mellor gets to reprise his one chart hit, When I Need You, at nauseating length. Kid Creole coasts and John Altman does a bad gangster impression. The play's depiction of ethnic harmony masks a great deal of blaxploitation stereotyping. Kim Gavin concentrates on zesty dance routines rather than the acting or the music: and in a show that sells itself on the nostalgic pull of its soundtrack, that's not good enough. The London Evening Standard

"...It's not hard to divine the thinking behind the current vogue for gigs masquerading as musicals. The songs are the draw, and when they are well performed they provide an honest and satisfying night out. Oh! What A Night tried to be a bit cleverer. The scenario sounds reasonable enough: a disco musical set in a Seventies New York nightclub. The plot turns around the attempts by hoodlum Rocco to seize control of the joint from Paul, its alcoholic owner. The subplot involves Paul's daughter Nikki’s engagement to Rocco's slimy son and her yen for grimy Mancunian Rik (Mellor). And the sub-sub plot concerns a talent contest being held to choose dancers for a Hollywood disco flick. But apart from the suspicion that several parts were written purely for the actors, it all looks like an unnecessary excuse to stage some well-loved songs. The script is so moribund - even for the Seventies - and the acting and direction so rudimentary that you wish they would just get on with the real business at hand. When they do - with YMCA at the end of the first half, and a medley of hits at the end of the second - the show gets a much-needed boost. Even so, the choreography is nothing to write home about: some of the routines look like an aerobics class with a soundtrack... the cast are given precious few chances to work their charms, and the show misses any real sense of the Seventies by a mile. The Times

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Oh, what a Night! (2002-01-Operettenhaus-Hamburg)

Type de série: Revival
Théâtre: Operettenhaus (Hambourg - Allemagne)
Durée : 5 mois 2 semaines
Nombre :
Première Preview : vendredi 11 janvier 2002
Première : vendredi 11 janvier 2002
Dernière : samedi 29 juin 2002
Mise en scène :
Chorégraphie :
Producteur :
Avec : Kid Creole, Stuart Ramsey, Philip Childs, Rebecca Reaney, Lucy Moorby, Nigel Roche, Hugo Harold-Harrison, Ben Campbell, Jane McMurtie, Robert Grose, Victoria Hamilton-Barrit, Debbie Jenkins, Grant Murphy, Paul Isaiah Isles, Laura Tickle, Stepps, Jemma Arnold, Melissa Keyes, Ben Campbell, Binny Lee

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Only in America (1980-04-Roundhouse-London)

Type de série: Original
Théâtre: Roundhouse (Londres - Angleterre)
Durée :
Nombre : 20 représentations
Première Preview : Inconnu
Première : mercredi 09 avril 1980
Dernière : Inconnu
Mise en scène : Ned Sherrin • David Yakir
Chorégraphie : Douglas Norwick
Producteur :
Avec : Timothy Whitnall (Jimmy Dante), John Christie (Jose), Donald Waugh (Charlie Brown), Bertice Reading (Mrs Brown), Val Pringle, Kim Goody, Clark Peters, Miquel Brown, Deena Payne
Commentaires : This show had hardly any plot and the action was just a way of linking from one song to another using the catalogue of songs by Lieber & Stoller.

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Only the Lonely (1994-09-Piccadilly Theatre-London)

Type de série: Original
Théâtre: Piccadilly Theatre (Londres - Angleterre)
Durée : 1 an 2 semaines
Nombre :
Première Preview : mardi 27 septembre 1994
Première : mardi 27 septembre 1994
Dernière : dimanche 15 octobre 1995
Mise en scène : Bill Kenwright • Ian Kellgren
Chorégraphie :
Producteur :
Avec : Larry Branson (Roy Orbison), James Carroll Jordan (Bobbie Blackburn), Stephen Tremblay (Wesley Orbison), Martin Glyn-Murray (Bruce Springsteen), Catherine Porter (Claudette, Mrs Orbison) Sophy Ackroyd , Paul Besterman, Shelley Blond, Rob Jarvis, Kevin Jones, Dave Mayberry, Anne Smith
Commentaires : Larry Branson bore an uncanny resemblance to Roy Orbison and had toured the USA for several years in a tribute show. In May 1995 the cast was joined by P. J. Proby with his own 15 minute spot, and the show underwent a few changes, being re-named “The Roy Orbison Story”. The show transferred to the Whitehall Theatre in October 1995 and finally closed on March 10th 1996.

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Orfeus: A House Music Opera (2020-04-Young Vic Theatre-Main-London)

Type de série: Original
Théâtre: Young Vic Theatre (Londres - Angleterre)
Salle : Main Stage
Durée : 1 mois 2 semaines
Nombre :
Première Preview : mardi 14 avril 2020
Première : mardi 14 avril 2020
Dernière : samedi 30 mai 2020
Mise en scène : Charles Randolph-Wright
Chorégraphie :
Producteur :
Commentaires : Blurring the lines of opera, house music and theatre, Nmon Ford’s Orfeus makes its World Premiere at the Young Vic, directed by Charles Randolph-Wright (Motown: The Musical).

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Over my Shoulder (2001-11-Jermyn Street Theatre-London)

Type de série: Revival
Théâtre: Jermyn Street Theatre (Londres - Angleterre)
Durée : 3 semaines
Nombre :
Première Preview : mardi 06 novembre 2001
Première : mardi 06 novembre 2001
Dernière : dimanche 02 décembre 2001
Mise en scène : Stewart Nichols
Chorégraphie :
Producteur :
Avec : Anne Rogers (Jessie Matthews), Suzy Bloom (Young Jessie), Abigail Langham (Rosie Matthews/Sheilah Graham), Stephen Carlisle (Fred Astaire/Harry Lytton), Andrew Halliday (Sonnie Hale), Duncan Wisbey (C.B. Cochran/ Bing Crosby), Ben Stock, Daniel Fine
Commentaires : This marked the return to the West End of Anne Rogers after decades away. She had been in the original production of “The Boy Friend” and had even played the lead in the first US tour of “My Fair Lady”. Her performance was received with delight.

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Over my Shoulder (2003-10-Wyndham's Theatre-London)

Type de série: Revival
Théâtre: Wyndham s Theatre (Londres - Angleterre)
Durée : 1 semaine
Nombre :
Première Preview : lundi 27 octobre 2003
Première : mardi 28 octobre 2003
Dernière : samedi 08 novembre 2003
Mise en scène : Stewart Nichols
Chorégraphie : Stewart Nichols
Producteur :
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
Commentaires : 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”)

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Pageant (2000-05-King's Head Theatre-London)

Type de série: Original London
Théâtre: King's Head Theatre (Londres - Angleterre)
Durée : 1 mois 3 semaines
Nombre :
Première Preview : lundi 15 mai 2000
Première : lundi 15 mai 2000
Dernière : mercredi 05 juillet 2000
Mise en scène : Bill Russel
Chorégraphie : Warren Carlyle
Producteur :
Avec : Lionel Blair (Frankie Cavalier), Graham MacDuff (Miss Texas), Dale Mercer (Miss Deep South), Michael Xavier (Miss Great Plains), Eaton James (Miss Bible Belt), Leon Maurice-Jones (Miss Industrial North East), Miles Western (Miss West Coast)
Commentaires : With perma-tanned Lionel Blair standing in at the last moment as the compère, this was a gloriously camp send-up of the “brain-dead bimbos who pout and wiggle their way through beauty contests”. It originated off-Broadway. Following some excellent notices, the production transferred to the Vaudeville Theatre, where it survived a further eight week run.

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Pageant (2000-08-Vaudeville Theatre-London)

Type de série: Reprise
Théâtre: Vaudeville Theatre (Londres - Angleterre)
Durée : 2 mois
Nombre :
Première Preview : mercredi 26 juillet 2000
Première : mardi 01 août 2000
Dernière : samedi 30 septembre 2000
Mise en scène : Bill Russel
Chorégraphie : Warren Carlyle
Producteur :
Avec : Lionel Blair (Frankie Cavalier), Graham MacDuff (Miss Texas), Dale Mercer (Miss Deep South), Michael Xavier (Miss Great Plains), Eaton James (Miss Bible Belt), Leon Maurice-Jones (Miss Industrial North East), Miles Western (Miss West Coast)
Commentaires : With perma-tanned Lionel Blair standing in at the last moment as the compère, this was a gloriously camp send-up of the “brain-dead bimbos who pout and wiggle their way through beauty contests”. It originated off-Broadway. Following some excellent notices, the production transferred to the Vaudeville Theatre, where it survived a further eight week run.
Presse : MICHAEL BILLINGTON for THE GUARDIAN says there is too much camp on the West End at the moment and he cannot take much more, but does go on to say, "Undeniably Pageant has some very funny moments."

NICHOLAS DE JONGH for THE EVENING STANDARD says, "What a Miss Drag." He goes on to say, "It's all a question of bad taste. But this bizarre little musical....does not strike me as making enough inventive fun of gender-bending."

MARK COOK for THE INDEPENDENT says, "It could do with a touch more bitchiness and less star-spangled sincerity, and while Lionel Blair's compere is obviously light on his feet, a more sleazy, oleaginous portrayal might have provided more of a contrast to all the campery. But how can you resist a show that, in a space-age number, raises one of life's great imponderables: what should I wear to a brand new planet, should it be flats or high heels?"

BENEDICT NIGHTINGALE for THE TIMES calls the show "A bit of a camp squib". He goes on to say, "I laughed; but... not a lot."

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Peg (1984-04-Phoenix Theatre-London)

Type de série: Original
Théâtre: Phoenix Theatre (Londres - Angleterre)
Durée : 4 mois
Nombre : 146 représentations
Première Preview : Inconnu
Première : jeudi 12 avril 1984
Dernière : samedi 11 août 1984
Mise en scène : Ian Judge
Chorégraphie : Sheila Falconer
Producteur :
Avec : Sian Phillips (Mrs Chichester), Edward Duke (Alaric Chichester), Patricia Michael (Ethel Chichester), Martin Smith (Sir Gerald Adair), Ann Morrison (Peg O’Connell),), Julia Sutton (Bennett), Liza Sadovy (Dora), Kim Smith , David McAlister, John Hewer.
Commentaires : Based on the play “Peg O’ My Heart” by J. Hartley Manners, it was felt to be sugary sentiment and totally unbelievable. Critical reaction of the show was almost universally damning: “If the show had never opened a large number of people would have been spared the misery of having to work on it, and a small number of people would have been spared the misery of having to sit through it.”

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Personals (2000-06-Apollo Theatre-London)

Type de série: Revival
Théâtre: Apollo Theatre (Londres - Angleterre)
Durée : 1 mois 2 semaines
Nombre :
Première Preview : mardi 13 juin 2000
Première : jeudi 15 juin 2000
Dernière : samedi 29 juillet 2000
Mise en scène : Pete Brooks
Chorégraphie : Sam Spencer-Lane
Producteur :
Avec : Cameron Blakely (Louis), Martin Callaghan (Typesetter), Marcus Allen Cooper (Sam), Christina Fry (Louise), Carmen Cusack (Kim), Vicki Simon (Claire)
Commentaires : With the same production team - but a few cast changes - this was a re-creation of the show that had been performed on the fringe in September 1998. It ran just over 6 weeks.
Original London run: New End, September 1998

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Peter Pan - The British Musical (1994-12-Cambridge Theatre-London)

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

Durée : 1 mois
Nombre :
Première Preview : mardi 20 décembre 1994
Première : mardi 20 décembre 1994
Dernière : samedi 21 janvier 1995
Mise en scène : Peer Chater Robinson
Chorégraphie : George May
Producteur :
Avec : Ron Moody (Capt. Hook/Mr Darling), Nicola Stapleton (Peter Pan), Debbie Wall (Wendy), Rosemary Williams (Mrs Darling), Pinky Amador (Tiger Lily), Harry Dickman (Smee), David Anthony (Nana)
Commentaires : Apart from the welcome reappearance of Ron Moody in the West End after a long absence, there was hardly anything to recommend this new musical version of J. M. Barrie’s famous story. The Times said: “This dreadful musical hovers, or rather wobbles, between the insufferably twee and the lethally stupid”. The Sunday Telegraph "... There are naff tunes, naffer lyrics, and dowdy sets…"

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Prisoner of Cell Block H - The Musical (1995-10-Queen's Theatre-London)

Type de série: Original
Théâtre: Sondheim Theatre (Londres - Angleterre)
Durée : 2 mois 2 semaines
Nombre : 88 représentations
Première Preview : lundi 23 octobre 1995
Première : lundi 30 octobre 1995
Dernière : samedi 13 janvier 1996
Mise en scène : David McVicar
Chorégraphie : Peter Titus
Producteur :
Avec : Lily Savage (Herself), Maggie Kirkpatrick (Joan Ferguson), Penny Morrell (The Governor), Liz Smith (Minnie), Alison Jiear (Mrs Austin), Sara Stephens (Patsy), Terry Neason, Emma Kershaw, Jeffrey Perry.
Commentaires : The cult Australian TV soap set in a women’s prison was re-created as a camp musical which dispensed with any seriousness, kept the wobbly sets and daft plot, added some witty songs, and ended up as a gloriously hilarious show for some critics - and as a complete load of tacky amateurish rubbish for others. Liverpool’s own Lily Savage (Paul O’Grady) has been wrongly jailed for prostitution, theft and murder whilst on holiday Down Under - accused of stealing a fondue set. Joan “ the Freak” Ferguson (from the original TV cast) is a leather-clad jackbooted prison warder with a compulsive fondness for strip-searching the prisoners. British actress, Liz Smith, plays a mad old lady doing bird pottering around in a dishevelled and confused state. Such plot as there was involved Joan Ferguson attempting to poison the Governor’s tea in order to take over control of the prison to show the prisoners some “real discipline”

Version 98

Radio Times (1992-10-Queen's Theatre-London)

Type de série: West End Transfer
Théâtre: Sondheim Theatre (Londres - Angleterre)
Durée : 3 mois
Nombre : 108 représentations
Première Preview : Inconnu
Première : jeudi 15 octobre 1992
Dernière : samedi 16 janvier 1993
Mise en scène : David Gilmore
Chorégraphie : Anthony Van Laast
Producteur :
Avec : Tony Slattery (Sammy Shaw), Peter Rutherford (Heathcliffe Bultitude), Kathryn Evans (Olive), Jeff Shankley (Gary Strong), James Buller (Jeeps), Amy Chapman, Wilfred Davies, Tamzin Outhwaite, Martin Eyre, Linda Mae Brewer
Commentaires : Following a try-out at Birmingham Rep, this show came into London on the skirts of the hugely successful “Me and My Girl”. With its total emphasis on nostalgia the older critics loved it, while the younger ones were mystified. It ran for three months.

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Rehab (2017-09-Union Theatre-London)

Type de série: Original
Théâtre: Union Theatre (Londres - Angleterre)
Durée :
Nombre :
Première Preview : mercredi 20 septembre 2017
Première : mercredi 20 septembre 2017
Dernière : samedi 23 septembre 2017
Mise en scène : Elliot Davis
Chorégraphie :
Producteur :
Avec : Jonny Labey (Kid Pop), Raya Clark (Lucy Tupper), John Barr (Barry), Dermot Canavan (Eric Burns), Tom Murphy (Phil Newman), Jacqui Dubois (Martha), Christopher Doyle (Henry Boscombe), Lisa-Marie Holmes (Melanie Ruperts), Michael Burgen (Joseph Topper), Murray Lachlan Young (Malcolm Gladwell), Annabel Giles (Jane Killy)

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Romance Romance (1997-03-Gielgud Theatre-London)

Type de série: Original
Théâtre: Bridewell Theatre (Londres - Angleterre)
Durée : 3 semaines
Nombre :
Première Preview : vendredi 13 septembre 1996
Première : vendredi 13 septembre 1996
Dernière : samedi 05 octobre 1996
Mise en scène : Steven Dexter
Chorégraphie : Mitch Sebastian
Producteur :
Avec : Mark Adams (Alfred/Sam), Ria Jones (Josefine/Monica), Steve
Billingsley, Beth Robson, Tony Timberlake, Anne Wood
Commentaires : With both couples played by the same performers, this was much
praised as being reminiscent of Sondheim, elegant, intelligent and worthy
of transfer.
Il will be transfered (with mostly a new cast) to the Gielgud Theatre. However, what had been delightful in the tiny Bridewell, now seemed “a balding musical on a low budget” in the West End. It ran for just over six weeks.

Version 101

Romance Romance (1997-03-Gielgud Theatre-London)

Type de série: West End Transfer
Théâtre: Gielgud Theatre (Londres - Angleterre)

Durée : 1 mois 2 semaines
Nombre : 54 représentations
Première Preview : jeudi 27 février 1997
Première : mardi 04 mars 1997
Dernière : samedi 19 avril 1997
Mise en scène : Steven Dexter
Chorégraphie : Mitch Sebastian
Producteur :
Avec : Mark Adams (Alfred/Sam), Caroline O’Connor (Josefine/Monica), Linzi Hately, Michael Cantwell
Commentaires : This was a transfer (with mostly a new cast) of the much-praised fringe production at the Bridewell from the previous September. However, what had been delightful in the tiny Bridewell, now seemed “a balding musical on a low budget” in the West End. It ran for just over six weeks.

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Roy Orbison Story (The) (1995-10-Whitehall Theatre-London)

Type de série: Revival
Théâtre: Trafalgar Studios (Londres - Angleterre)
Salle : Studio 1
Durée : 4 mois 3 semaines
Nombre :
Première Preview : jeudi 19 octobre 1995
Première : jeudi 19 octobre 1995
Dernière : dimanche 10 mars 1996
Mise en scène : Bill Kenwright • Ian Kellgren
Chorégraphie :
Producteur :
Avec : Larry Branson (Roy Orbison), James Carroll Jordan (Bobbie Blackburn), Stephen Tremblay (Wesley Orbison), Martin Glyn-Murray (Bruce Springsteen), Catherine Porter (Claudette, Mrs Orbison) Sophy Ackroyd , Paul Besterman, Shelley Blond, Rob Jarvis, Kevin Jones, Dave Mayberry, Anne Smith
Commentaires : This show was transfered from Piccadilly Theatre.
Larry Branson bore an uncanny resemblance to Roy Orbison and had toured the USA for several years in a tribute show. In May 1995 the cast was joined by P. J. Proby with his own 15 minute spot, and the show underwent a few changes, being re-named from "Only the lonely" to “The Roy Orbison Story”.

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Scapa (1962-03-Adelphi Theatre-London)

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

Durée :
Nombre : 44 représentations
Première Preview : jeudi 08 mars 1962
Première : jeudi 08 mars 1962
Dernière : Inconnu
Mise en scène : George Carden
Chorégraphie :
Producteur :
Avec : David Hughes (Dusty), Edward Woodward (Haggis), Pete Murray (Badger), Timothy Gray (Sprog), Leon Peers (Herbert)
Commentaires : Based on Hugh Hasting’s play “Seagulls Over Sorrento”, none of the critics seemed to pick up on an underlying gay theme – even though the sailors go into drag and cavort about at the end of Act 1 in a number called “Bella”. The original play was an enormous success and made a great deal of money. Hugh Hastings invested it all in this musical version and ended up seriously out of pocket.

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Sistas (2011-10-St. Luke's Theatre-Off Broadway)

Type de série: Revival
Théâtre: St Luke's Theatre (Broadway (Off) - Etats-Unis)
Durée : 5 ans 2 mois 1 semaine Se joue actuellement
Nombre :
Première Preview : vendredi 29 juillet 2011
Première : dimanche 23 octobre 2011
Dernière : Open end, ouvert actuellement jusqu'au sam. 31 décembre 2016
Mise en scène :
Chorégraphie :
Producteur :
Avec : Jennifer Fouche (Roberta), Amy Goldberger (Heather), Tracey Conyer Lee (Gloria), Lexi Rhoades (Tamika), Badia Farha (Simone)
Commentaires : Popular off-Broadway musical Sistas returns to thw St Luke's Theatre! is a nonstop celebration! Produced by three-time Tony winner Hinton Battle and directed by Smash's Kenneth Ferrone, the production follows five women as they prepare to bury the matriarch of their family. Truths, memories and relationships come to the fore, sometimes welcome, sometimes not. Bring your best gal pal, your sister, your mother, even your aunt for this celebration of female family.

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Six of One (1963-09-Adelphi Theatre-London)

Type de série: Original
Théâtre: Adelphi Theatre (Londres - Angleterre)
Durée :
Nombre :
Première Preview : jeudi 26 septembre 1963
Première : jeudi 26 septembre 1963
Dernière : Inconnu
Mise en scène : William Chappell
Chorégraphie :
Producteur :
Avec : Dora Bryan

Version 106

Some girls are bigger than others (2005-07-Lyric Hammersmith-London)

Type de série: Original
Théâtre: Lyric Hammersmith (Londres - Angleterre)
Durée : 2 semaines
Nombre :
Première Preview : mardi 05 juillet 2005
Première : mardi 05 juillet 2005
Dernière : samedi 23 juillet 2005
Mise en scène :
Chorégraphie :
Producteur :

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Songs for Stray Cats (1985-11-Donmar Warehouse-London)

Type de série: Original
Théâtre: Donmar Warehouse (Londres - Angleterre)
Durée :
Nombre : 20 représentations
Première Preview : Inconnu
Première : mardi 12 novembre 1985
Dernière : Inconnu
Mise en scène : Pip Broughton
Chorégraphie :
Producteur :
Avec : Peter Capaldi, Elaine Collins, Josie Lawrence, John McGlynn, George Rossi
Commentaires : This production originated in Glasgow and had been touring before it came to the Donmar for a fixed run ending December 7th. However, it was taken off a week earlier. In spite of lack of interest it was given two nominations for Best Musical (over “Les Misérables”! ) in the annual Critics’ Poll.

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Soul Train (1999-06-Victoria Palace Theatre-London)

Type de série: Original
Théâtre: Victoria Palace Theatre (Londres - Angleterre)
Durée : 2 mois 2 semaines
Nombre :
Première Preview : mercredi 16 juin 1999
Première : mardi 22 juin 1999
Dernière : samedi 04 septembre 1999
Mise en scène : Mark Clements
Chorégraphie : Stephen Mear
Producteur :
Avec : Sharon Benson, Jacqui Boatswain, Sheila Ferguson, C. Gerod Harris, Danny John-Jules, Melanie E Marshall, Karen McSween, David Obinyan, Jason Pennycooke, Colin Roy, Vanessa Smith
Commentaires : Another “jukebox” musical with hardly any plot - this offered some 47 songs (or bits of songs) - and was ostensibly a dramatised history of soul music, starting with a church-type gospel choir who then rip off their cassocks to reveal sequinned dresses, and illustrate the story with video projections of the Ku Klux Klan and the Vietnam War. It was described as a “lazy, ramshackle and short-lived excuse for a show”, but a superbly sung and performed celebration of black music. It closed after just ten weeks.
Presse : THE EVENING STANDARD says, "Soul Train may be a lazy, ramshackle and short-lived excuse for a show, but the soul itself is immortal."

THE SUNDAY TIMES says "Uplifting party fare for anyone who keeps a copy of The Blues Brothers next to the home VCR."

THE DAILY TELEGRAPH says, "I'm afraid Soul Train is just another bog-standard compilation show with none of the ingenuity of Mamma Mia!"

THE FINANCIAL TIMES says, "Even that shameless exercise in exploitation. The Blues Brothers stage show, has more plot than Soul Train.

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Spin of the wheel (1987-04-Comedy Theatre-London)

Type de série: West End Transfer
Théâtre: Harold Pinter Theatre (Londres - Angleterre)
Durée : 3 semaines
Nombre : 36 représentations
Première Preview : jeudi 02 avril 1987
Première : mardi 07 avril 1987
Dernière : samedi 02 mai 1987
Mise en scène : Timothy Prager
Chorégraphie :
Producteur :
Avec : Neil McCaull {Danny Lemon), Maria Friedman (Janie Jones), Teddy Kempner (Chester), Douglas Anderson (Hyram Ross), Raymond Brody (Louis Marda), Erin Donovan (Regina), Susie Fenwick (Delores), Mark Heenehan (Randy), Stephen Hoye (Jack O ’Neill), Jeremy Sinden (Sammy Class), Matt Zimmerman (Ralph Dylan)
Commentaires : It opened with great success at the Watford Palace (11/3/1987), but failed to catch on when it transferred to the West End.
Presse : "...This musical is fortunate in having in Maria Friedman, as Janie, an actress with a bright, vacuous charm of a Goldie Flawn who can brighten a stage even when she is up to her neck in fatuity..." Multon Shulam, The London Evening Standard (8 April 1987)
"...The plot deals with dumb blonde Janie Jones who is manipulated then discarded by the commercial sponsors of a quiz game show. The part recalls the invincible innocence and sublime daffiness of Judy Holliday whom the splendid Maria Friedman here occasionally resembles - with a dash of Goldie Hawn and a belting mellifluous way with the songs thrown in..." Martin Hoyle, The Financial Times (8 April 1987)
"...The satire Spin of the Wheel is so bland that the show is virtually indistinguishable from the ghastly world of TV light entertainment which is its subject... Maria Friedman brings an agreeable singing voice to the role of Janie..." Charles Osborne, The Daily Telegraph (9 April 1987)
"...Maria Friedman, a delightful actress with a great voice..." Lester Middlehurst, Today (10 April 1987)

Version 110

Stairway to Heaven (1994-11-King's Head Theatre-London)

Type de série: Original
Théâtre: King's Head Theatre (Londres - Angleterre)
Durée : 3 semaines
Nombre :
Première Preview : lundi 21 novembre 1994
Première : lundi 21 novembre 1994
Dernière : dimanche 18 décembre 1994
Mise en scène : Dan Crawford
Chorégraphie : Irvin Davies
Producteur :
Avec : Gary Cady (Peter Carter), Fiona Sinnott (June), Martin Connor (Conductor), Simon Clark (Abraham Farlan), Michael Medwin (Dr Reeves), Brogden Miller (Bob Trubshaw), Godfrey Kenton (Judge)
Commentaires : Based on the film “A Matter of Life and Death” by Michael Power and Emeric Pressburger which originally starred David Niven and Marius Goring, this show won the 1994 Vivian Ellis Best New Musical Award.

Version 111

Stop in the Name of Love (1988-08-Piccadilly Theatre-London)

Type de série: Original
Théâtre: Piccadilly Theatre (Londres - Angleterre)
Durée : 5 mois 1 semaine
Nombre : 104 représentations
Première Preview : Inconnu
Première : lundi 15 août 1988
Dernière : samedi 21 janvier 1989
Mise en scène : Wayne A. Findlay
Chorégraphie : Henry Metcalf
Producteur :
Avec : Naomi Eyers, Alison Jiear, Lisa Shipley (The Fabulous Singlettes), with David Glynde, Gordon Marshall, Ant Glynn, John Gustafson, Jason McDermid, Wayne Findlay
Commentaires : No plot, but nostalgic evening of songs from the Sixties from the
Australian group Th Fabulous Singlettebacked by theiboyfriends.
Repris au Comedy Theatre en 1990.

Version 112

Stop in the Name of Love (1990-07-Comedy Theatre-London)

Type de série: Recréation
Théâtre: Harold Pinter Theatre (Londres - Angleterre)
Durée : 1 mois
Nombre :
Première Preview : Inconnu
Première : mardi 10 juillet 1990
Dernière : samedi 11 août 1990
Mise en scène : Wayne A. Findlay
Chorégraphie : Henry Metcalf
Producteur :
Avec : Alison Jiear, Naomi Eyers, Simone Dee (The Fabulous Singlettes)
Commentaires : A revised version of the show “Stop in the Name of Love” which had played 104 performances at the Piccadilly Theatre in 1988. However, this time Lisa Shipley had been replaced with Simone Dee. This show was brought in as a quick “filler”.
Créé au Piccadilly Theatre en 1988.

Version 113

Streets of London (The) (1980-10-Her Majesty's Theatre-London)

Type de série: Recréation
Théâtre: Her Majesty's Theatre (Londres - Angleterre)
Durée : 3 mois 1 semaine
Nombre : 122 représentations
Première Preview : Inconnu
Première : mardi 21 octobre 1980
Dernière : samedi 31 janvier 1981
Mise en scène : Diane Cilento
Chorégraphie : Noel Tovey
Producteur :
Avec : William Squire (Gideon Bloodgood), Michael Carter (Badger), Helen Cherry (Mrs Fairweather), Susannah Fellows (Lucy Fairweather), Richard Walsh (Paul Fairweather), Royce Mills (Edwards), Jane Wymark (Alida Bloodgood), Mark Livingstone (Frank Grimes), Shaun Curry
Commentaires : Dion Boucicault’s play of dastardly doings and retributions was adapted from the French “Les pauvres de Paris” and was first presented in New York in 1857 under the title “The Streets of New York”. When Boucicault returned to England it was performed as “The Streets of Liverpool” and then changed its title according to whichever town it was performed in on its way to London. The play mixed melodramatic spectacle and social observation to become a Christian sermon in which the audience was encouraged to give to the poor on their way out of the theatre. Even in its earliest form it was accompanied by music-hall type songs
This new musical version originated at the Theatre Royal, Stratford East for a three week season in March, and then was much re-written and enlarged for its West End run. In its original 1864 London production the sensation was the scene of a burning house with a real fire-engine and real horses on stage. This scene worked well on the small East London stage, but seemed rather feeble on the vast expanses of Her Majesty’s Theatre. The show was praised by the critics but failed to run very long.

Version 114

Suburban Strains (1981-02-Roundhouse-London)

Type de série: Original
Théâtre: Roundhouse (Londres - Angleterre)
Durée :
Nombre : 31 représentations
Première Preview : Inconnu
Première : mardi 03 février 1981
Dernière : Inconnu
Mise en scène : Alan Ayckbourn
Chorégraphie :
Producteur :
Avec : Lavinia Bertram (Caroline), Michael Simkins (Kevin), Robin Herford, Marcia Warren, Graeme Eton, Russell Dixon, Tessa Peake Jones
Commentaires : It was generally felt to be a collection of conventional attitudes presented in a style a little bit too “clever” with its ingenious and intricate rhyme schemes and plot devices. Following its Scarborough premiere, this was a limited season at the Roundhouse to see if any West End management would be interested. They were not.

Version 115

Summer Holiday (1997-07-Hammersmith Apollo Theatre-London)

Type de série: West End Transfer
Théâtre: Eventim Apollo (Londres - Angleterre)
Durée : 2 mois 2 semaines
Nombre :
Première Preview : mardi 08 juillet 1997
Première : mardi 08 juillet 1997
Dernière : samedi 20 septembre 1997
Mise en scène : Ultz
Chorégraphie : Queeny Sachs
Producteur :
Avec : Darren Day (Don), Darren J. Bennett (Steve), Mark McGee (Edwin), Rene Zagger (Cyril), Lucie Fentum (Mimsie), Miranda Richards (Angie), Jo Sherwood (Alma), Clare Buckfield (Barbara), Hilary O’Neill (Stella), Ross King (Wallace)
Commentaires : This was a gloriously camp re-creation of the film: Paris (berets and an accordion player), Switzerland (clock, bells, sheep and cows), finally Greece (blokes in white skirts, gold waistcoats and red caps); a tendency for the boys to strip continually down to their Y-fronts; an updating with some terrible jokes (one of Don’s gormless male friends gives him a baguette and says, knowingly. “Now you’ve got something else that’s nine inches” - another gets to Paris and says “I really want to go to the Louvre” only to be told “Well, use that tree over there”) - the whole show was gloriously awful. Darren Day managed a very creditable impersonation of Cliff Richard, and Hilary O’Neill stole the show with a totally over-the top comedy performance as the mother. The show was critic-proof, and packed with Cliff Richard/Darren Day fans who screamed their delight from start to finish. It had played a six-month sell-out season at Blackpool Opera House in the summer of 1996, and then toured before this six month season in London.

Version 116

Swan Esther (1983-12-Young Vic-London)

Type de série: Original
Théâtre: Young Vic Theatre (Londres - Angleterre)
Salle : Main Stage
Durée :
Nombre :
Première Preview : Inconnu
Première : samedi 17 décembre 1983
Dernière : Inconnu
Mise en scène : Frank Dunlop
Chorégraphie : Jeff Thacker
Producteur :
Avec : Amanda Redman (Esther), Sam Kelly (Mordecai’), Stephen Lewis (Prime Minister of Persia), James Coombes (King of Persia), David Henry, Christine Nagy, Susan Kyd, Simon Howe
Commentaires : This was clearly an attempt to create another “Joseph” - a show with a large children’s chorus suitable for schools and youth productions. However, something went wrong at the last minute and licences for the children were refused, accordingly the show went ahead with adults only. In 1985 a new and revised version called “Swan Esther and the King” was created and toured under the management of Bill Kenwright.

Version 117

Tales my lover told me (1997-10-King's Head Theatre-London)

Type de série: Original
Théâtre: King's Head Theatre (Londres - Angleterre)
Durée : 1 semaine
Nombre :
Première Preview : vendredi 24 octobre 1997
Première : vendredi 24 octobre 1997
Dernière : mardi 04 novembre 1997
Mise en scène : Chris Burgess
Chorégraphie : Mitch Sebastian
Producteur :
Commentaires : The story of three middle-aged, middle-class women and their erratic – but not very erotic – romances. Thricemarried Lesley works in an advertising agency and is James Stadden and Lindsay Danvers romancing David, a smooth travel writer; Jean’s boyfriend is an old university friend called Perry, a gauche northerner obsessed with his pet dog; and Laura, a former groupie who can’t quite kick the self-destructive habits of her youth, is enamoured of a charmless, drunken, violent biker called Steve. Wittily exploring the chattering classes’ fixation on relationships, it was described as a Sondheim-style metropolitan cocktail with a twist of Woody Allen. The 19 songs and cast of six were praised, along with the show itself, though the general reaction was the material itself was too lightweight to have much of an after-life.

Version 118

Tess of D'Urbervilles (1999-10-Savoy Theatre-London)

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

Durée : 1 mois 4 semaines
Nombre : 77 représentations
Première Preview : samedi 30 octobre 1999
Première : mercredi 10 novembre 1999
Dernière : vendredi 08 janvier 1999
Mise en scène : Karen Louise Hebden
Chorégraphie : Terry John Bates
Producteur :
Avec : Poppy Tierney/Phillipa Healey (Tess), Maxine Fone (Young Tess), Jonathan Monks/Robert Irons (Angel Clare), Alasdair Harvey (Alec D’Urberville)
Commentaires : Adapted from Thomas Hardy’s novel. The critic Bill Hagerty summed it up as “Thomas Hardy’s heroine Tess was a mess, wretched and doomed, and the musical at the Savoy is much the same” This was a sung-through show which included country dancing by “buxom elderly milkmaids frolicking on the kind of village green last seen in Palladium pantomimes circa 1955” (The Spectator). At the opening performance the role of Angel Clare was played at the last moment by the understudy, Robert Irons, replacing Jonathan Monks (“who had the good fortune to be unwell” - Mail on Sunday). The show was universally criticised for its mind-numbing banality, and its musical hubris. It ran for ten weeks.

Version 119

Tina (1915-11-Adelphi Theatre-London)

Type de série: Original
Théâtre: Adelphi Theatre (Londres - Angleterre)
Durée :
Nombre :
Première Preview : mardi 02 novembre 1915
Première : mardi 02 novembre 1915
Dernière : Inconnu
Mise en scène : Phyllida Lloyd
Chorégraphie : Anthony Van Laast
Producteur :
Avec : Mr. Godfrey Tearle, Mr. Fred Wright, Mr. Ben Osbome, Mr. Rohan Clensy, Mr. Harry Drummond, Mr. J an Oyra, M. T. Del Lungo, Mr. Martin King, M. Leon, M. Lion, Mr. W. H. Berry, Miss Mabel Sealby, Miss Yvonne Reynolds, Miss Luna Love, Miss Dorothy Waring, Miss Chloe O'Hara, Miss Jessie Fraser, Miss Rosie Campbell, Miss Dolly Balfe, Miss Claire Lynch, Miss Gracie Sinclaire, Miss Connie Stuart, Miss Phyllis Dare

Version 120

Translucent Frogs of Quuup (The) (2004-09-New Ambassador's Theatre-London)

Type de série: West End Transfer
Théâtre: Ambassadors Theatre (Londres - Angleterre)
Durée : 1 semaine
Nombre :
Première Preview : jeudi 09 septembre 2004
Première : jeudi 09 septembre 2004
Dernière : vendredi 17 septembre 2004
Mise en scène :
Chorégraphie :
Producteur :
Avec : Jonathan Robbins (Anthony Marigold Bentley), Rosalie Craig (Edith
Marigold Bentley), Chris Larner (Narrator, etc), Mark Stevens (Pianist, etc)
Commentaires : An odd little piece from the Edinburgh Festival by the co-writer of the successful “The Play What I Wrote”, it was a great hit on the Edinburgh Fringe and some London reviewers regarded it as a piece of great charm and gusto. However many others took the view “too many average-to-inadequate shows get praised to high heaven during the annual Fringe frenzy, when theatre critics seem to either lose their marbles or get light-headed on the Edinburgh air and laugh hysterically at anything.”

Version 121

Translucent Frogs of Quuup (The) (2004-11-King's Head Theatre-London)

Type de série: Reprise
Théâtre: King's Head Theatre (Londres - Angleterre)
Durée : 1 mois 2 semaines
Nombre :
Première Preview : lundi 08 novembre 2004
Première : lundi 08 novembre 2004
Dernière : dimanche 26 décembre 2004
Mise en scène :
Chorégraphie :
Producteur :
Avec : Jonathan Robbins (Anthony Marigold Bentley), Rosalie Craig (Edith
Marigold Bentley), Chris Larner (Narrator, etc), Mark Stevens (Pianist, etc)
Commentaires : An odd little piece from the Edinburgh Festival by the co-writer of the successful “The Play What I Wrote”, it was a great hit on the Edinburgh Fringe and some London reviewers regarded it as a piece of great charm and gusto. However many others took the view “too many average-to-inadequate shows get praised to high heaven during the annual Fringe frenzy, when theatre critics seem to either lose their marbles or get light-headed on the Edinburgh air and laugh hysterically at anything.”

Version 122

Underneath the Arches (1982-03-Prince of Wales Theatre-London)

Type de série: Original
Théâtre: Prince of Wales Theatre (Londres - Angleterre)
Durée : 1 an 2 mois 3 semaines
Nombre :
Première Preview : Inconnu
Première : jeudi 04 mars 1982
Dernière : samedi 28 mai 1983
Mise en scène : Roger Redfarn
Chorégraphie : Tudor Davies
Producteur :
Avec : Roy Hudd (Bud Flanagan), Christopher Timothy {Chesney Allen), Julia Sutton {Florrie Forde), Joe Black, Peter Glaze, Tommy Godfrey, Billy Gray, Don Smoothey (The Crazy Gang)
Commentaires : The production originated at the Chichester Festival Theatre.

Version 123

Up on the Roof (1987-04-Donmar Warehouse-London)

Type de série: Original
Théâtre: Donmar Warehouse (Londres - Angleterre)
Durée : 2 semaines
Nombre :
Première Preview : lundi 27 avril 1987
Première : mardi 28 avril 1987
Dernière : samedi 16 mai 1987
Mise en scène : Simon Moore • Jane Prowse
Chorégraphie :
Producteur :
Avec : Beverley Hills (Angela), Mark McGann (Scott), Felicity Montagu (Bryony), Michael Mueller (Tim), Gary Olsen (Keith)
Commentaires : A warm-hearted and admired piece which moved from the small Donmar to the much bigger Apollo without losing its intimate charm, but sadly for a very short run.
Transposé à l'Apollo Theatre dans le West End.

Version 124

Up on the Roof (1987-06-Apollo Theatre-London)

Type de série: West End Transfer
Théâtre: Apollo Theatre (Londres - Angleterre)
Durée : 2 mois 2 semaines
Nombre :
Première Preview : Inconnu
Première : lundi 08 juin 1987
Dernière : samedi 22 août 1987
Mise en scène : Simon Moore • Jane Prowse
Chorégraphie :
Producteur :
Avec : Beverley Hills (Angela), Mark McGann (Scott), Felicity Montagu (Bryony), Michael Mueller (Tim), Gary Olsen (Keith)
Commentaires : A warm-hearted and admired piece which moved from the small Donmar to the much bigger Apollo without losing its intimate charm, but sadly for a very short run.
Transféré du Donmar Warehouse.

Version 125

Ushers: the Front of House Musical (2015-09-Arts Theatre-London)

Type de série: Original London
Théâtre: Arts theatre (Londres - Angleterre)
Salle : Main Stage
Durée : 1 mois
Nombre :
Première Preview : mercredi 09 septembre 2015
Première : lundi 14 septembre 2015
Dernière : dimanche 18 octobre 2015
Mise en scène : Max Reynolds
Chorégraphie :
Producteur :
Avec : Ben Fenner, Rory Maguire, Alexandra Parkes, Corrine Priest, Cameron Sharp, Harry Stone
Commentaires longs: After a triumphant run at the Edinburgh Fringe, the smash hit Off West End musical USHERS: The Front of House Musical returns to the London stage at the ARTS theatre for a limited run.

Version 126

Valentine's Day (1992-09-Gielgud Theatre-London)

Type de série: West End Transfer
Théâtre: Gielgud Theatre (Londres - Angleterre)

Durée : 3 semaines
Nombre : 28 représentations
Première Preview : Inconnu
Première : jeudi 17 septembre 1992
Dernière : samedi 10 octobre 1992
Mise en scène : Gillian Lynne
Chorégraphie : Gillian Lynne
Producteur :
Avec : Elizabeth Counsell (Mrs Clandon), John Turner (Crampton Clandon), Teresa Banham (Gloria), Edward Petherbridge (Walter), Alexander Hanson (Valentine), Edward de Souza, Amanda Dainty, Eileen Battye, Nicky Adams
Commentaires : Based on George Bernard Shaw’s play “You Never Can Tell”, this had originated at the Minerva Studio in Chichester. It did not transfer comfortably to the larger Globe Theatre, and received very mixed reviews. It came off very quickly.

Version 127

Vampire hospital waiting room (2015-11-Arts Theatre-Above-London)

Type de série:
Théâtre: Arts theatre (Londres - Angleterre)
Salle : Above the Arts
Durée : 1 semaine
Nombre :
Première Preview : lundi 09 novembre 2015
Première : mardi 10 novembre 2015
Dernière : samedi 21 novembre 2015
Mise en scène : Theo McCabe
Chorégraphie :
Producteur :

Version 128

Villain's Opera (The) (2000-04-Olivier Theatre-NT-London)

Type de série: Original
Théâtre: National Theatre (Londres - Angleterre)
Salle : Olivier Theatre
Durée : 2 mois
Nombre : 54 représentations
Première Preview : mardi 04 avril 2000
Première : mardi 11 avril 2000
Dernière : samedi 10 juin 2000
Mise en scène : Tim Supple
Chorégraphie :
Producteur :
Avec : Alex Hanson (Macheath), Clive Rowe(Mr Big), James Earl Adair David Alder, Jai Armstrong, David Arneil, Allyson Brown, David Burt, Pauline Carville,Anthony Clegg, Oliver Cotton, Ceri Ann Gregory, Beverley Klein, Samantha Lavender, Helen Latham,Maggie Lloyd-williams, Leigh Mcdonald, Liam Mckenna, Paddy Navin, Omar F Okai, Alastair Parker, Sara Powell, Elizabeth Renihan, Anthony Renshaw, Neville Robinson, Myra Sands, Adrian Sarple,Sally Ann Triplett, Michael Wildman, And Madeleine Worrall.

Version 129

Voyeurz (1996-07-Whitehall Theatre-London)

Type de série: Original
Théâtre: Trafalgar Studios (Londres - Angleterre)
Salle : Studio 1

Durée : 1 mois 3 semaines
Nombre : 64 représentations
Première Preview : vendredi 12 juillet 1996
Première : lundi 22 juillet 1996
Dernière : samedi 14 septembre 1996
Mise en scène : Michael Lewis • Peter Rafelson
Chorégraphie : Bunty Mathias • Annabel Haydn
Producteur :
Avec : Sally Anne Marsh (Jane), Krysten Cummings (Andi), Natasha Kristie (Eve), Robert Nurse (Pretty Boy Lloyd), Marcus J. McCue (Zephyr), Belinda Chapman (Cruel Ella), Lisa Torun (Chakra Calm)
Commentaires : Michael White, famous for “Rocky Horror Show” and “Oh Calcutta”, had apparently invested £1 million in this lavish “adult entertainment”. The publicity said that he hoped people would leave the theatre “wanting to have sex - with whatever and homever”. Inevitably the show was totally derided by the critics, claiming it offered not just simulated sex, but simulated singing, dancing and acting and a simulated book and music. It came off after 8 weeks having lost its entire investment.
Presse : Voyeurz

Version 130

Waiting Room (The) (2000-05-Cottesloe Theatre-NT-London)

Type de série: Original
Théâtre: National Theatre (Londres - Angleterre)
Salle : Dorfman Theatre
Durée : 1 mois 3 semaines
Nombre : 17 représentations
Première Preview : jeudi 25 mai 2000
Première : mardi 30 mai 2000
Dernière : vendredi 21 juillet 2000
Mise en scène : Indhu Rubasingham
Chorégraphie :
Producteur :
Avec : Shabana Azmi, Paul Bazely, Lolita Chakrabarti, Kulvider Ghir, Raad Rawi, and Nadim Sawalha
Commentaires : Part of the Springboard series: Work by emerging young writers, whose plays have been developed at the National Theatre Studio.

Version 131

White Feather (The) (2015-09-Union Theatre-London)

Type de série: Original
Théâtre: Union Theatre (Londres - Angleterre)
Durée : 4 semaines
Nombre :
Première Preview : jeudi 01 janvier 1970
Première : vendredi 18 septembre 2015
Dernière : samedi 17 octobre 2015
Mise en scène :
Chorégraphie :
Producteur :

Version 132

Who's Hooper? (1919-09-Adelphi Theatre-London)

Type de série: Original
Théâtre: Adelphi Theatre (Londres - Angleterre)
Durée :
Nombre : 349 représentations
Première Preview : samedi 13 septembre 1919
Première : samedi 13 septembre 1919
Dernière : Inconnu
Mise en scène :
Chorégraphie :
Producteur :

Version 133

Wild Wild Women (1982-06-Astoria Theatre-London)

Type de série: Original London
Théâtre: Astoria Theatre (Londres - Angleterre)
Durée :
Nombre : 29 représentations
Première Preview : Inconnu
Première : mardi 15 juin 1982
Dernière : Inconnu
Mise en scène : Michael Richmond
Chorégraphie : Marcia King
Producteur :
Avec : James Lister (Clanton), Marc Urquhart (McLaird'), Marcia King (Sister Priscilla), Lesley Joseph {Madame Lola), Steve Devereaux (Bill Tibbs),
Susanna Felowes (Alice Tibbs), Gordon Reid (Judge West), Clive Carter
Commentaires : Originally performed at the Orange Tree Theatre, Richmond, this began as a piece written for students at Mountview Theatre School. This production at the Astoria was an attempt at creating the American style “dinner theatre” - where stalls seats were removed and replaced with tables and chairs, and a meal was served prior to the start of the show.

Version 134

Windy City (1982-07-Victoria Palace Theatre-London)

Type de série: Original
Théâtre: Victoria Palace Theatre (Londres - Angleterre)
Durée : 7 mois 1 semaine
Nombre : 250 représentations
Première Preview : Inconnu
Première : mardi 20 juillet 1982
Dernière : samedi 26 février 1983
Mise en scène : Peter Wood
Chorégraphie :
Producteur :
Avec : Dennis Waterman (Hildy Johnson), Anton Rodgers (Walter Burns), Diane Langton (Mollie Malloy), Amanda Redman (Esther Stone), Robert Longden (Earl Williams), Victor Spinetti, Shaun Curry, David Sinclair
Commentaires : Based on the play “The Front Page” by Ben Hecht and Charles MacArthur

Version 135

Yakety Yak (1982-11-Half MoonTheatre-London)

Type de série: Original
Théâtre: Half Moon Theatre (Londres - Angleterre)
Durée :
Nombre :
Première Preview : Inconnu
Première : lundi 15 novembre 1982
Dernière : Inconnu
Mise en scène : Robert Walker
Chorégraphie : Lynne Hockney
Producteur :
Avec : Paul McGann (Danny), Steve McGann (Bo), Joe McGann (Joe), Griff Fender, Pikey Butler, Rita Ray, Duncan Kerr, Natalie Ogle, Nosmo King, Jimmy Compton.
Commentaires : With hardly any plot worry about, but excellent performances and the successful band known as “The Darts”, this was a great night’s entertainment for lovers of early rock’n’roll. The three brothers were played by three genuine brothers. The show underwent some re-writing and some minor re-casting for the transfer to the Astoria. Remarkably the cast was increased with yet another McGann brother - Mark McGann - and all four brothers were much praised for their acting and singing.

Version 136

Yakety Yak (1983-1-Astoria Theatre-London)

Type de série: West End Transfer
Théâtre: Astoria Theatre (Londres - Angleterre)
Durée :
Nombre :
Première Preview : Inconnu
Première : mardi 18 janvier 1983
Dernière : Inconnu
Mise en scène : Robert Walker
Chorégraphie : Lynne Hockney
Producteur :
Avec : Paul McGann (Danny), Steve McGann (Bo), Joe McGann (Joe), Griff Fender, Pikey Butler, Rita Ray, Duncan Kerr, Natalie Ogle, Nosmo King, Jimmy Compton, Mark McGann, Kenny Andrews
Commentaires : With hardly any plot worry about, but excellent performances and the successful band known as “The Darts”, this was a great night’s entertainment for lovers of early rock’n’roll. The three brothers were played by three genuine brothers. The show underwent some re-writing and some minor re-casting for the transfer to the Astoria. Remarkably the cast was increased with yet another McGann brother - Mark McGann - and all four brothers were much praised for their acting and singing.

Reportage

Sistas (2011-10-St. Luke's Theatre-Off Broadway)

Qualité: **** Intérêt: ***
Langue:
Anglais Durée: