Phoenix Theatre (Londres)

Topologie du théâtre

Nombre de salles actives: 1
Salle 1: (1020) 1930 - Actif

Accès

En métro: Leicester Square/Tottenham Court Road
En bus: 19, 22, 24, 38, 40, 176
Adresse: Charing Cross Road, London, WC2H 0JP

Evolution

Bâtiment: 1930. Designed for Sidney Lewis Bernstein by Bertie Crewe, Cecil Masey, Theodore Komissarjevsky and Sir Giles Gilbert Scott / Statutorily Listed Historic Building: Grade II.
Nom:

Propriétaire(s)

Ambassador Theatre Group

Remarquable

Interior by Theodore Komissarjevsky, his first theatre design / Painted panels and safety curtain by Vladimir Polunin / Collection of cartoons housed in stalls bar.

La période de réservation de "Bend It Like Beckham " au Phoenix étendue

Londres (Angleterre)

Phoenix Theatre

Bend it like Beckham

Publié le 10 déc. 2015

La réservation est étendue de 2 semaines jusqu'au 5 mars 2016

Reprise de rôle: Jamie Muscato dans "Bend It Like Beckham "

Londres (Angleterre)

Phoenix Theatre

Bend it like Beckham

Publié le 03 déc. 2015

Jamie Muscato va rejoindre le cast de Bend It Like Beckham qui se joue actuellement au Phoenix Theatre. Muscato remplacera Jamie Campbell Bower dansle rôle du coach 'Joe', commençant ses représentations le 14 décembre 2016.

Some hundred yards north of Cambridge Circus, and on the line of the west boundary wall to the former medieval Hospital of St Giles, the stuccoed entrance to the Phoenix Theatre blends with its conjoined neighbour, an unprepossessing six-storey block of offices above shops, as it curves into the narrow confines of Flltcroft Street, where the Elms Lester scene-painting workshop of 1903-4 is a rare survival of Its kind. Opposite the entrance in Charing Cross Road is the Central St Martin's College of Art and Design (1939) and an interesting former pub, the Tam O'Shanter (1876), while between the two is the remnant of what appears to be a small early cinema.
Like so many others, the theatre was built on land formerly occupied by run-down properties; In this case including a corner pub, but in particular the Alcazar, a ‘music hall' of rather dubious moral character. That name is now perpetuated in a block of flats close by in Phoenix Street, which forms the southern boundary to the theatre. Also in Phoenix Street is the present main theatre entrance, whose classical style contrasts markedly with the Art Deco of the Charing Cross fagade. Formerly linked to the now demolished Curzort Cinema, the front is dominated by its wide central Portland-stone bay, which features twisted Ionic columns under a richly decorated entablature and modllllon cornice above three pairs of enriched doors. To either side are single-window wide brick bays.
In the late 1920s Sidney Lewis Bernstein, later Lord Bernstein, assembled a unique quartet of archltect-deslgners to create his theatre on lands owned by the Brinkman Estate. Bertie Crewe, who had designed the Metropole, Birmingham, as early as 1885, was joined by Cecil Masey, whose Empire In Edmonton, north London, was under construction in 1908. While Crewe was nearing the end of his working life in 1930, Masey would collaborate with Theodore Komissarjevsky to produce super-cinemas for Bernstein through the following decade, including the masterpiece of the Granada Cinema, Tooting, and such minor classics as the Granada, Harrow Weald, Middlesex (both 1937). Komissarjevsky was bom In Venice of Russian parents and trained in architecture. He came to England in 1919 aged 27, making an indelible impression on English theatre with exceptional productions in his converted cinema at Barnes in West London. The fourth member of the team, Sir Giles Gilbert Scott, is harder to place in this company; since 1903 he had been deeply involved with the building of the great Anglican Cathedral in Liverpool, with Ampleforth Abbey and College, Yorkshire also on his drawing board. In 1947, aged 67, he began work on Bankslde Power Station, now the Tate Modern Gallery, close to Shakespeare’s Globe.
Contrasting entrances lead through to contrasting foyers. Behind the Charing Cross Road frontage is a very pretty circular domed enclosure decorated In shades of blue and cream, accessed by two pairs of enriched doors glazed with 14 bevelled lights. Entering from Phoenix Street, one sees richly coloured coffering and grotesque scrollwork dominating a marble staircase adorned with decorative detail in an 18th-century style. Rich decoration extends throughout the building. For his first theatre design Komlssarjevsky chose a loose but masterly Italian Renaissance style, with nine painted panels in the auditorium and a superb painted safety curtain by
Vladimir Polunln. The attractive circular Inner stalls vestibule Is enhanced by an elaborate mirrored ceiling, and a visit to the plushy Phoenix Stalls Bar will be rewarded by a small but exceptional collection of cartoons from the likes of Bill Tidy, David Langdon and Quentin Blake, lampooning the Phoenix.
The blue, pink and gold colour scheme of the opening night Is perpetuated in spirit, enlivened by in- house decoration repeating exactly the previous colour scheme - thus sidestepping the need to make application to the local council and to English Heritage for listed building consent, which would probably be required on the grounds that any deviation from the existing colours could be interpreted as changing the character of the building.
Since its opening production of Noël Coward’s comedy Private Lives on 24 September 1930, the theatre has seen many successes, ranging from Late Night Final (1931) to Dancing at Lughnasa starring Alec McCowen (1991). Willy Russell's Blood Brothers has been running here non-stop since 1991.

1930. Designed for Sidney Lewis Bernstein by Bertie Crewe, Cecil Masey, Theodore Komissarjevsky and Sir Giles Gilbert Scott / Statutorily Listed Historic Building: Grade II.

The Stalls are divided into two blocks with a central aisle running the full length of the auditorium. Due to the angle of the set, seating is best towards the centre, although seats on the end of rows are not as bad as in other venues. The show itself is intimate and many prefer to be closer to the action to feel more involved. Sitting in the front section does not require too much neck craning, and nothing is missed on-stage due to the significant rake. For those who like to see the live band in action, sitting closer to the front and to the sides allows views through the set up to the band who perform hidden from the audience.

Most seats in this section offer an excellent view of the stage, although the ends of the rows are not as good as the centre, which is to be expected. Rows A and B can be obstructed by the safety rail, and so it may be wise to sit a couple of rows further back to avoid this altogether. Leg room is tight especially in row A, so if you are taller you may prefer sitting in the stalls.The final rows are affected by the overhang of the Upper Circle, although for this show it does not mean you are missing out on too much of the action. Sight lines are again enhanced by the stage rake and the action never feels too far away.

The Upper Circle is similar in quality to the Dress Circle, and has a similar amount of seats. Divided once again by a centre aisle the first few rows feel relatively close to the stage and can be intimate. A rail once again obstructs the view in the front two rows, but this can be overcome by tactful sitting. It can get rather hot at this level during the summer as the theatre does not have air-conditioning. Due to the shape of the theatre the ends of each row are restricted and are not as good value as those towards the centre.

Interior by Theodore Komissarjevsky, his first theatre design / Painted panels and safety curtain by Vladimir Polunin / Collection of cartoons housed in stalls bar.

Théâtre
Original London

1) Stranger Things: The First Shadow (Original London)

Joué durant actuellement

Première preview: mer. 01 novembre 2023
Première: mer. 01 novembre 2023
Dernière: Open end

Compositeur: * Divers •
Parolier: * Divers •
Libettiste: * Divers •
Metteur en scène: Stephen Daldry • Justin Martin •
Chorégraphe:
Avec:**

Commentaire:

Presse:

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Théâtre
West End Transfer

28) A Streetcar Named Desire (West End Transfer)

Joué durant 1 mois 1 semaine

Première preview: 20 March 2023
Première: 20 March 2023
Dernière: 29 April 2023

Compositeur: * Divers •
Parolier: * Divers •
Libettiste: * Divers •
Metteur en scène: Rebecca Frecknell •
Chorégraphe:
Avec: Paul Mescal (Stanley), Patsy Ferran (Blanche DuBois), Anjana Vasan (Stella), Dwane Walcott (Harold - Mitch - Mitchell)**

Commentaire:

Presse:

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Théâtre
Revival

27) Noises Off (Revival)

Joué durant 1 mois 2 semaines

Première preview: 19 January 2023
Première: 25 January 2023
Dernière: 11 March 2023

Compositeur: * Divers •
Parolier: * Divers •
Libettiste: * Divers •
Metteur en scène: Lindsay Posner •
Chorégraphe:
Avec:** Felicity Kendal (Dotty Otley), Tracy-Ann Oberman (Belinda Blair), Matthew Kelly (Selsdon Mowbray), Alexander Hanson (Lloyd Dallas), Joseph Millson (Garry Lejeune), Sasha Frost (Brooke Ashton), Pepter Lunkuse (Poppy Norton), Jonathan Coy (Fredrick Fellows)

Commentaire:

Presse:

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Musical
Original

26) Fermeture COVID (Original)

Joué durant 1 an 4 mois

Première preview: 16 March 2020
Première: 16 March 2020
Dernière: 19 July 2021

Compositeur:
Parolier:
Libettiste:
Metteur en scène:
Chorégraphe:
Avec:

Commentaire: Tous les théâtres anglais ont dû fermer dès le 16 mars 2020 suite à la pandémide de COVID… (plus)

Presse:

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Musical
Original London

25) Come from Away (Original London)

Joué durant 3 ans 10 mois 3 semaines

Première preview: 30 January 2019
Première: 18 February 2019
Dernière: 07 January 2023

Compositeur: David Hein • Irene Sankoff •
Parolier: David Hein • Irene Sankoff •
Libettiste: David Hein • Irene Sankoff •
Metteur en scène: Christopher Ashley •
Chorégraphe:
Avec: Rachel Tucker, David Thaxton, Jenna Boyd, Nathanael Campbell, Clive Carter, Mary Doherty, Robert Hands, Helen Hobson, Jonathan Andrew Hume, Harry Morrison, Emma Salvo, Cat Simmons with Mark Dugdale, Bob Harms, Kiara Jay, Kirsty Malpass, Tania Mathurin, Alexander McMorran, Brandon Lee Sears and Jennifer Tierney.

Commentaire: The show transferred to London’s Phoenix Theatre in early 2019, following a short run in Dublin at the end of 2018. (plus)

Presse: "‘Come from Away’ creates a kind of temporary utopia: a little world where (almost) everyone is forced, by earth-shattering events hundreds of miles away, to come together and build a community based on principles of generosity and care."
Alice Saville, Time Out, ★★★★★

"In Christopher Ashley’s nimble production, a cast of 12 switch between playing the locals and the stranded travellers who have — in Newfoundland parlance — “come from away”. It’s an approach that heightens the sense of the groups happily merging, and the songs, mostly choral and propulsive, have a crowd-pleasing warmth as well as a Celtic accent (think pipes, fiddle and drum). "
Henry Hitchings, Evening Standard, ★★★★

"See the show in the West End, and it takes all of ten seconds to be in its generous embrace. You stay there for the next 100 minutes: laughing, tapping your foot, wiping away tears, feeling good about humanity — what a rare, welcome feeling that is these days — without ever feeling you’re just being sold gloopy musical-theatre good cheer."
Dominic Maxwell, The Times, ★★★★★

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Musical
Revival

24) Chicago (Revival)

Joué durant 8 mois 4 semaines

Première preview: 26 March 2018
Première: 11 April 2018
Dernière: 05 January 2019

Compositeur: John Kander •
Parolier: Fred Ebb •
Libettiste: Fred Ebb •
Metteur en scène:
Chorégraphe:
Avec: Cuba Gooding Jr (Billy Flynn), Sarah Soetaert (Roxie), Josefina Gabrielle (Velma), Ruthie Henshall (Mama Morton), Paul Rider (Amos Hart), Alan Richardson, Michelle Antrobus, Natalie Bennyworth, Nicola Coates, Frances Dee, Zoe Gappy, Emma Harris, Chelsea Labadini, Joanna Rennie, Abramo Ciullo, Francis Foreman, Luke Jarvis, Matt Krzan, Charles Ruhrmund, Todd Talbot, Callum Macdonald, Chris Warner Drake, Matthew Wesley.

Commentaire: After a hugely successful tours across the UK and internationally, smash-hit American musical Chicago returns to the London stage, starring Academy Award-winning actor Cuba Gooding Jr as Billy Flynn. Last seen at the Garrick Theatre in 2012, the production returns to the Phoenix Theatre in March 2018, celebrating its 21st anniversary as the longest-running musical on Broadway. (plus)

Presse:

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