Londres
London Pavilion
Londres - Angleterre
Construction: 1859 - Fermeture: 1934
Topologie du théâtre
Nombre de salles actives: 1
Salle 1: () 1859 - Actif
Accès
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Evolution
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1859 - Actif
Revue
Original
5) This Year of Grace! (Original)
Joué durant 9 mois
Nb de représentations: 315 représentations
Première preview: 22 March 1928
Première: 22 March 1928
Dernière: 22 December 1928
Compositeur: Noël Coward •
Parolier: Noël Coward •
Libettiste: Noël Coward •
Metteur en scène: Frank Collins •
Chorégraphe:
Avec: Sonnie Hale, Lance Lister, Fred Groves, Douglas Byng, Jack Holland, Peter May, Tommy Hayes, Arthur Warren, Syd Shields, Eddie Grant, Edward Coventry, Charles Farey, Frank Fox, Richard Haydon, Fred Le Roy, Fred Herries, Billy Shaw, William Cavanagh, Cecil Stafford, Robert Algar, Melville Cooper, Jack Kosky. Jessie Matthews, Tilly Losch, Maisie Gay, Joan Clarkson, Laurie Devine, Jean Barry, Ann Codrington, Moya Nugent, Sheilah Graham, Adrienne Brune, Madge Aubrey, Kitty Jacobs, Lolita Hudson, Madeline Gibson, Florita Fey, Greta Taylor, Marjorie Robertson, Betty-[ Ann] Davies, Gladys Godby, Marjorie Browne, Peggy Wynne, Marie Masters, Dinka Starace, Nancy Barnett, Decilia Mobray, Doreen Austin, Nancy Fielder, Isla Bevan, Nora Olive, Kathleen Coram, Betty Shale.
Commentaire:
Presse: “Quite a good revue on good professional lines” (Sat Review).
“A splendid show from beginning to end” (Stage).
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Revue
Original
4) One Dam Thing after Another (Original)
Joué durant 6 mois 3 semaines
Nb de représentations: 236 représentations
Première preview: 20 May 1927
Première: 20 May 1927
Dernière: 10 December 1927
Compositeur: Richard Rodgers •
Parolier: Lorenz M. Hart •
Libettiste: Ronald Jeans •
Metteur en scène: Frank Collins •
Chorégraphe:
Avec: Morris Harvey, Sonnie Hale, Lance Lister, Douglas Byng, Max Wall, Brian Glennie, Alan Macbeth, Richard Dolman, Sheridan Stephens, Peter May, William Cavanagh, Stuart Kern, P. C. Murray, Philip Buchel, Barney Glossop, Claude Newman, Richard Haydon, Tom Devine, Ian Dudley Hardy, Art Fowler. Mimi Crawford, Edythe Baker, Greta Fayne, Vivienne Glen, Gwen Stella, Nora Olive, Madeline Gibson, Doreen Austin, Decilia Mobray, Florita Fey, Nancy Barnett, Joan Clarkson, Jessie Matthews, Kate Strudwick, Kathleen Coram, Peggy Wynne, Ena Elliott, Marjorie Browne, Betty[-Ann] Davies, Marjorie Rogers, Greta Taylor, Isla Bevan, Sheilah Graham, Renee Lemoine.
Commentaire:
Presse:
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Revue
Original
3) Blackbirds of 1926 (Original)
Joué durant 8 mois
Nb de représentations: 279 représentations
Première preview: 11 September 1926
Première: 11 September 1926
Dernière: 14 May 1927
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Revue •
Metteur en scène:
Chorégraphe:
Avec: U. S. Thompson, Johnny Hudgins, Lloyd Mitchell, Chick Horsey, Charles Woody, Clarence Robinson, Johnny Nit. Florence Mills, Edith Wilson, Aida Ward, Tillie Meadows, Lucia Moses, Gwendolyn Graham, Tiny Ray, Bessie de Saussaure, Ruth Johnston, Mae Fanning, Santita Riviera, Hyacinth Curtis, Mae Fortune, Flash Vinscon, Plantation Steppers.
Commentaire:
Presse:
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Revue
Original
2) On with the Dance (Original)
Joué durant 6 mois 2 semaines
Première preview: Inconnu
Première: 30 April 1925
Dernière: 14 November 1925
Compositeur: Noël Coward • Philip Braham •
Parolier: Noël Coward •
Libettiste: Noël Coward •
Metteur en scène:
Chorégraphe:
Avec: Nigel Bruce, Ernest Thesiger, Léonide Massine, Douglas Byng, Richard Dolman, Ernest Lindsay, Harry Barker, Emmett Baker, Lance Lister, Fred Winn, Terry Kendall, Donald Neville, Billy Reynolds, Jean Perrie, Kenneth Henry, Fred Wallace, Arthur Howe, Albert Zapp, Max Rivers, Victor Tunwell, Herbert Richards, Walter Gore, Jimmy Gilbert, Tom Hilary, Trocadero Four. Alice Delysia, Eleonora Marra, Hermione Baddeley, Betty Shale, Greta Fayne, Jessie Taylor, Violet Gould, Joan Nurick, Dolly Nepean, Helen Gardom, Dorothea Varda, Greta Beronius, Vera Bryer, Hettie Steer, Nancy Barnett, Nora Lorrimore, Terri Storri, Florence Desmond, Averil Haley, Decilia Mobray, Rita Robinson, Thalia Barberova, Peggy Heather, Amelia Allen, Josephine Head, Pat Kendall, Laurie Devine, Betty Oliver, Emma Williams, Enid Hudson, D’Soura Noranna.
Commentaire:
Presse: Stage said the revue was mixed in quality; while there were “brilliantly staged ballets and production numbers,” Noël Coward’s sketches were “mediocre when they [were] not unpleasant.”
The reviewer in The Sunday Times was not impressed, calling it "a curious mixture of perfect beauty and perfect drivel," with "not a good tune in the whole piece"
Whereas The Times critic responded more positively, noting that "as a whole, with the dancing always preponderating, the revue [was] excellent."
The Era's reviewer wrote on May 9, 1925, "The most comical thing in the revue is the Vicarage Garden Party on the lines of a musical comedy, with Miss Hermione Baddeley giving a clever and cruel burlesque of Nellie, the heroine, and Mr. Ernest Thesiger and Mr. Douglas Byng, as two clergymen, singing the funniest number of the evening."
The Morning Post (1 May 1925) says: "Mr Charles Cochran's new revue is at once the most decadent and most brilliant thing he has ever done. the whole thing is more than modern, bizarre, grotesque, fantastic, unnatrual. the speed of the change from scene to scene, of the performance of each number, is feverish, burlesquing the speed of opur overheated life. At times the players seem mad, intoxicated with the desire to force their bodies to do something faster, faster."
"As befits Mr. Coward's genius, many of the incidents are as nature seen through a glass crookedly, and when we see some normal little typical revue duet-dance face to face, it seems positively dull - an effort to restore the company to a state of mental balance. Those arid, futile people that Mr. Coeward puts into his plays dash about the stage, worked into afrenzy by the syncopated music."
"M. Massine, who produced the two amazing ballets, 'The Rake', suggested by engravings of Hogarth, and 'Crescendo', an attempt to 'shatter' the gentle tranquility of Les Sylphides by the insistent clamour of modernity - both left one gasping - danced briliantly. His resource is magnificent, his multiplicity of movement astonishing, his accuracy marvellous. But all of course, bizarre, preposterous, in so much that the beautiful stately 'Hungarian Wedding' with which the revue ended almost perished because the contrast was too great. The number at the end of the first part, 'Couldn't We Keep on Dancing?' should be taken as the finale."
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