Londres
Piccadilly Theatre
Londres - Angleterre
Construction: 1928
Topologie du théâtre
Nombre de salles actives: 1
Salle 1: (1200) 1928 - Actif
Accès
En métro: Piccadilly Circus
En bus: 3, 6, 9, 12, 13 ,14, 15, 19, 22, 38, 53, 88, 94, 159
Adresse: 16 Denman Street, London, W1D 7DY
Evolution
Bâtiment: 1928. Theatre built on site of derelict stables and a pub to the designs of Bertie Crewe and Edward A. Stone, for the Piccadilly Theatre Company
Nom:
Propriétaire(s)
Ambassador Theatre Group
Remarquable
Mural panels in the Ladies' Bar by Stuart Robertson and Phillip O'Reilly, painted in 1988
1200
1928 - Actif
Away from the noise and urgency of Piccadilly Circus, the streets to its north, developed In the later 17th century, take on an air of anonymity; Glasshouse Street and Sherwood Street are little more than short cuts - particularly for taxis - from Regent Street to Soho, while small restaurants occupy Denman Street. Close by is the entrance to Piccadilly Circus underground station, and on the oblique angle between Glasshouse Street and Sherwood Street is the main entrance to the Regent Palace Hotel, Immortalized by Sir John Betjeman In his poem ‘The Flight From Bootle’. A grand faience-faced structure, designed in 1912 by Sir Henry Tanner, It dominates the Piccadilly Theatre.
The theatre’s corner site, between Sherwood Street and Denman Street, was bought (probably very cheaply) by the Piccadilly Theatre Company in the late 1920s as a range of derelict stables and a pub, showing clearly on the 1875 edition Ordnance Survey map.
The architects for the new building were Bertie Crewe, who was already working on the Phoenix Theatre, and Edward A. Stone, who also designed the Whitehall Theatre (now called Trafalgar Studios) in 1930. As an architect, Stone’s designs were safe rather than adventurous; his practice, later the respected Stone, Toms and Partners, also built atmospheric cinemas for Paramount, as well as the Warner Leicester Square (1938) - ironically on the site of Daly's Theatre, designed in 1893 by Spencer Chadwick and C. J. Phipps.
Externally the building cannot be said to be dramatic. Rising to three main storeys, plus attics above a modillion cornice, the stucco elevation drops down Sherwood Street, punctuated by standard metal windows, in 12 bays, divided at first- and second-floor levels by fat, giant pilasters. The front curves gently Into Denman Street to stop rather abruptly on a projecting pavilion, which has absorbed the original pub In reduced form. A full-length canopy extends above a channelled and arcaded ground storey.
Internally, the small semicircular foyer retains an attractive Art Deco ticket office, and the auditorium approaches are enlivened by Vitruvian scroll friezes, a feature borrowed from the elevatlonal treatment of the Regent Hotel. Marc Henri, working around the same time on the Duchess Theatre, produced a green and gold Interior decoration scheme which fell victim to reconstruction works In the early 1960s. Eros is depicted to some effect on original etched glass display cabinets In the main staircase angles. The pink and gold, generally wallpapered auditorium, with its shallow serpentine balcony and box fronts and plain celling, Is unexciting. The bars, too, are plain, but the small Ladles’ Bar which opens off the stalls has three mural panels of some interest
painted by Stuart Robertson and Phillip O’Reilly In September 1988. Good original timber doors are retained throughout the building.
The theatre opened on 27 April 1928 with a production of Blue Eyes by Jerome Kern starring Evelyn Laye, but that same year It became a cinema showing early talkies such as The Singing Fool with Al Jolson. While not without successes, such as Oliver! In 1967 and Gypsy in 1973, the theatre is, maybe by virtue of its visually reclusive site, perhaps unfairly neglected by theatre-goers. Hopefully through the current successful production of Grease the theatre will introduce itself to a wider audience.
1928. Theatre built on site of derelict stables and a pub to the designs of Bertie Crewe and Edward A. Stone, for the Piccadilly Theatre Company
Infos complémentaires:
The stalls section is undivided by a central aisle and exists as one large block. Seats on the whole feel comfortable and have better than average legroom. There is a gentle rake that begins at row A towards the back of the stalls, making sight lines throughout the theatre seem clear over the audience in front. Towards the rear of the section this levels off, and views are not as clear as the front section. The rows curve around the stage with seats on the very end of each aisle looking across the stage rather than directly at it, which is something to bear in mind when choosing where to sit. Although these seats can offer a discounted rate, they do fall outside of the proscenium arch and feel more restricted.
The Circle overhang begins at row H although it does not begin to affect the view until around row N, when the top of the stage gets cut off. Towards the rear of the section around rows M and N the rows begin to get wider and do fall a little under the overhang, seeming dark and gloomy. For the same price, it is worth sitting in the Dress Circle for a better experience. Seats around the sound desk at rows S T and U centre are to be avoided.
Much of the Royal Circle is similarly priced to the Stalls, with top priced and premium seats, apart from the back two rows. In some cases these feel over priced, and you would be advised to sit one row behind the Premium seats (row E) for a similar experience at a fraction of the cost. The section is divided by a wide central aisle, with a small safety rail at the end of the steps. This can affect the view in rows A-C closest to the centre, and for the same price it is worth avoiding these seats. All seats in this section curve following the shape of the balcony rather than look straight on, so it may be advised to sit as centrally as possible. This is mainly a problem towards the ends of each aisle.
The Grand Circle overhang begins at row C, although the view remains unaffected until row G, where the top of the stage begins to disappear. The final row of the section is discounted due to the overhang, although not much of the stage is lost and this may be worth sitting in if found at a good price. Seats are on the whole comfortable with good legroom throughout.
The Grand Circle features three different price brackets, with the more expensive seats towards the front (rows A-F) and the final two rows (L-M) being the cheapest. The section is similar in size and shape to the Grand Circle with a wide central aisle. Although seats are on the whole unrestricted they do feel far back from the stage and don't offer the best value for money. Avoid sitting in the front rows and in the central aisle seats as views can become distorted from the safety rail.
The rake is quite steep throughout this section and can feel quite high. The Grand Circle is 7 steps above street level and looks down directly onto the stage. Some of the action can be missed towards the back of the theatre. Best seats in this section are towards the middle of each block, usually the front of the new pricing section. Row L can be quite a bargain, and although it isn't a perfect seat it does offer value for money.
Mural panels in the Ladies' Bar by Stuart Robertson and Phillip O'Reilly, painted in 1988
Musical
Original London
1) Moulin Rouge (Original London)
Joué durant
Première preview: mar. 16 mars 2021
Première: mar. 16 mars 2021
Dernière: Open end
Compositeur:
Parolier:
Libettiste: John Logan •
Metteur en scène: Alex Timbers •
Chorégraphe: Sonia Tayeh •
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Musical
Original
49) 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
48) Pretty Woman: The Musical (Original London)
Joué durant 10 mois 1 semaine
Première preview: 13 February 2020
Première: 01 March 2020
Dernière: 02 January 2021
Compositeur: Bryan Adams • Jim Vallance •
Parolier: Bryan Adams • Jim Vallance •
Libettiste: Gary Marshall • J.F. Lawton •
Metteur en scène: Jerry Mitchell •
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Théâtre évacué et représentations interrompues
Les spectateurs ont dû quitter la salle en plein milieu de la représentation de Mort d’un commis voyageur d’Arthur Miller, suite à l'effondrement partiel du plafond de la salle. Certains spectateurs ont été légèrement blessés et le public entier a dû être évacué.
Théâtre
Revival
47) Death of a Salesman (Revival)
Joué durant 2 mois
Première preview: 24 October 2019
Première: 05 November 2019
Dernière: 04 January 2020
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Divers •
Metteur en scène: Marianne Elliott • Miranda Cromwell •
Chorégraphe:
Avec:
Wendell Pierce, Sharon D Clarke, Sope Dirisu, Natey Jones, Victoria Hamilton-Barritt, Carole Stennett, Ian Bonar, Trevor Cooper, Joseph Mydell, Matthew Seadon-Young, Nenda Neurer, Femi Tomowo, Emmanuel Ogunjinmi
Commentaire: Arthur Miller’s Death of a Salesman returns to the West End in 2019, produced by Elliott Harper Productions, starring Sharon D Clarke and Wendell Pierce. After a sell-out run at the Young Vic, Death of a Salesman transfers to the Piccadilly Theatre from October 2019. (plus)
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Danse
Revival
46) Heartbeat of Home (Revival)
Joué durant 1 mois
Première preview: 04 September 2019
Première: 10 September 2019
Dernière: 13 October 2019
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Divers •
Metteur en scène: John McColgan •
Chorégraphe: Monica Ennis • Niamh O’Connor •
Avec:
Maggie Darlington, Gianna Petracic, Natasia Petracic, Bobby Hodges, Kieran Hardiman, Jason O’Neill, Brandon Asazawa, Ellen Bonner, Darren Casey, Amy-Mae Dolan, Anna Mai Fitzpatrick, Fergus Fitzpatrick, Meadhbh Kennedy, Kelsey Latham, Fred Nguyen, Louise O’Sullivan, Andy O’Reilly, Jack Quinn, Rocio Montoya, Jasiel Nahin, Valerio La Pietra, Svetlana Portnaia, Lisa Welham, Antonino Ingraiti, Paaliba Abugre, Onyemachi Ejimofor, Kayla Lomas-Kirton.
Commentaire: From the producers of Riverdance. Heartbeat of Home is a music and dance spectacular featuring the vibrant, dynamic components of traditional Irish, Latin and Afro-Cuban music and dance. The world-class cast of thirty-seven includes a ten-piece band creating a new and electrifying sound written by award-winning, Golden Globe nominated composer Brian Byrne.
Following sold out performances at the London Palladium, Heartbeat of Home returns to the West End. (plus)
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Théâtre
West End Transfer
45) Lehman Trilogy (The) (West End Transfer)
Joué durant 3 mois 1 semaine
Première preview: 11 May 2019
Première: 22 May 2019
Dernière: 31 August 2019
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Divers •
Metteur en scène: Sam Mendes •
Chorégraphe:
Avec: Adam Godley, Simon Russell Beale, Dominik Tiefenthaler
Commentaire: Tickets for Stefano Massini’s hit play The Lehman Trilogy completely sold out when the new English version premiered at the National Theatre’s Lyttelton Theatre in July. Starring Simon Russell Beale, Adam Godley and Ben Miles, the play tracks three generations of the family behind one of the world’s biggest financial corporations.
The Lehman Trilogy transfers to the West End's Piccadilly Theatre in May 2019, with tickets now on sale. (plus)
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Théâtre
Revival
44) Curious Incident of the Dog in the Night-Time (The) (Revival)
Joué durant 4 mois 2 semaines
Première preview: 28 November 2018
Première: 11 December 2018
Dernière: 27 April 2019
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Divers •
Metteur en scène: Marianne Elliott •
Chorégraphe:
Avec:
Cast for West End return in 2018 to be announced. Cast for final West End performance: Joseph Ayre (Christopher Boone), Jo Castleton (Siobhan), Nicolas Tennant (Ed), Sarah Stanley (Judy), Jacqueline Clarke (Mrs Alexander), Amanda Posener (Mrs Shears), Ross Waiton (Roger Shears), Matthew Trevannion (Mr Thompson), Gemma Knight Jones (No.40/Punk Girl), David Nellist (Reverend Peters), Thomas Dennis (alternate Christopher), Charleen Qwaye, Philip Stewart, Matt Wilman, Penelope McGhie.
Commentaire: Opened at National Theatre's small Cottesloe Theatre 24 July to 27 Oct 2012, and transferred to the West End's Apollo Theatre, opening 12 March 2013, following previews from 1 March - ran to 19 Dec 2013. Opened at the Gielgud Theatre on 24 June 2014. (plus)
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Musical
Original London
43) Strictly Ballroom (Original London)
Joué durant 6 mois
Première preview: 29 March 2018
Première: 24 April 2018
Dernière: 27 October 2018
Compositeur:
Parolier:
Libettiste: Baz Luhrmann • Craig Pearce •
Metteur en scène: Drew McOnie •
Chorégraphe: Drew McOnie •
Avec: Will Young (Wally Stand), Jonny Labey (Scott Hastings), Zizi Strallen (Fran), Michelle Bishop (Pam Short), Anna Francolini (Shirley Hastings), Ivan De Freitas (Merv), Gabriela Garcia (Vanessa Cronin), Charlotte Gooch (Tina Sparkle), Richard Grieve (Les Kendall), Gerard Horan (Barry Fife), Liam Marcellino (Wayne Burns), Stephen Matthews (Doug Hastings), Fernando Mira (Rico), Eve Polycarpou (Abuela), Lauren Stroud (Liz Holt), Gary Watson (Ken Railings), Chris Bennett, Chrissy Brooke, Hannah Fairclough, Selina Hamilton, Christopher D Hunt, Luke Jackson, Justin-Lee Jones, Robin Kent, Jacob Maynard, Leanne Pinder, Tinovimbanashe Sibanda, Dale White.
Commentaire: The stage musical adaptation got its world premiere in Australia in 2014. It ran at the Sydney Lyric Theatre. It includes the hit songs from the film “Love Is In The Air”, “Perhaps Perhaps Perhaps” and “Time After Time”.
The production got its UK premiere in Leeds at the West Yorkshire Playhouse in December 2016. (plus)
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Musical
Revival
42) Annie (Revival)
Joué durant 8 mois 2 semaines
Première preview: 23 May 2017
Première: 05 June 2017
Dernière: 18 February 2018
Compositeur: Charles Strouse •
Parolier: Martin Charnin •
Libettiste: Thomas Meehan •
Metteur en scène: Nikolai Foster •
Chorégraphe: Nick Winston •
Avec: Miranda Hart (Miss Hannigan)
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Musical
Revival
41) Jersey Boys (Revival)
Joué durant 3 ans 1 semaine
Première preview: 14 March 2014
Première: 14 March 2014
Dernière: 26 March 2017
Fait partie de: London Run
Compositeur: Bob Gaudio •
Parolier: Bob Crewe •
Libettiste: Marshall Brickman • Rick Elice •
Metteur en scène: Des McAnuff •
Chorégraphe: Sergio Trujillo •
Avec:
Commentaire: This turned out to be much more than a jukebox musical, and was superbly directed as a kind of show-business documentary saga moving across the decades and also providing concert-style performance interludes of some of the best-loved songs of the era. It opened on Broadway in November 2005 and won four Tony Awards, including Best Musical. The London production was re-created by the New York team, and won an Olivier as the Best New Musical of 2008.
18/3/2008 - 9/3/2014: Pricne Edward - London
14/3/2014 - 26/3/2017: Piccadilly Theatre - London (plus)
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Parolier: Bob Crewe •
Libettiste: Marshall Brickman • Rick Elice •
Metteur en scène: Des McAnuff •
Chorégraphe: Sergio Trujillo •
Avec:
18/3/2008 - 9/3/2014: Pricne Edward - London
14/3/2014 - 26/3/2017: Piccadilly Theatre - London (plus)
Musical
Revival
40) Dirty Dancing (Revival)
Joué durant 7 mois 2 semaines
Première preview: 13 July 2013
Première: 13 July 2013
Dernière: 22 February 2014
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: Eleanore Bergstein •
Metteur en scène: Sarah Tipple •
Chorégraphe: Kate Champion •
Avec: Jill Winternitz (Baby Houseman), Paul-Michael Jones (Johnny Castle), Charlotte Gooch (Penny Johnson), Colin Charles (Tito Suarez), James Coombes (Dr. Jake Houseman), Mark Faith (Mr Schumacher), Stefan Menaul (Neil Kellerman), Julia J Nagle (Marjorie Houseman), Michael Remick (Max Kellerman), Wayne Smith (Billy Kostecki) , Emilia Williams (Lisa Houseman) , Jonathan Cordin, Gemma Fuller, Rebecca Hodge, Faisal Khodabukus, Callum Nicol, Rosa O'Reilly, Adam Philpott, Kate-Emma Portlock, Stephanie Powell, Joseph Prouse, Aaron Richardson, Claire Rogers, Russell Smith, Lizzie Stavrou, Will Tyler, Tara Verloop
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Musical
Original
39) Viva forever (Original)
Joué durant 6 mois 2 semaines
Première preview: 27 November 2012
Première: 11 December 2012
Dernière: 29 June 2013
Compositeur: Spice Girls •
Parolier: Spice Girls •
Libettiste: Jennifer Saunders •
Metteur en scène: Paul Garrington •
Chorégraphe: Lynn Page •
Avec:
Commentaire:
Presse: "There's nothing really wrong with Jennifer Saunders' script, although there are moments where the plot fairly obviously exists solely to crowbar another 90s hit into proceedings...the real problem is the songs. For one thing, there aren't enough memorable hits in a career that lasted for three albums to support two hours of theatre..."
Alexis Petridis for The Guardian
"I’ll tell you what I wanted, what I really, really wanted – I wanted this terrible show to stop...This musical is tawdry, lazy and unedifying."
Charles Spencer for The Daily Telegraph
"The Spice Girls’ songs, with their clever hooks and catchy rhythms, are better at projecting an attitude than fleshing out a dramatic situation and it also indicates marked deficiencies in Jennifer Saunders’ charmless, messy, lacklustre book. Not only does her script rarely give you that necessary gleeful sense of expectancy about where the songs are going to be shoe-horned in, but it’s embarrassingly derivative of Mamma Mia! and looks way past its sell-by date in its utterly surprise-free satiric swipe at X Factor."
Paul Taylor for The Independent
"The narrative lumbers along packed with large dollops of dull dialogue, leaving one longing for another musical interlude."
Lisa Martland for The Stage
"There’s not enough infectious silliness or maverick spirit. Only during the encore (which is the evening's highlight) do we get a sense of the camp, irreverent show this might have been."
Henry Hitchings for Evening Standard
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Musical
Original London
38) Ghost - The musical (Original London)
Joué durant 1 an 2 mois 2 semaines
Première preview: 24 June 2011
Première: 19 July 2011
Dernière: 06 October 2012
Compositeur: Dave Stewart • Glen Ballard •
Parolier: Dave Stewart • Glen Ballard •
Libettiste: Bruce Joel Rubin •
Metteur en scène: Matthew Warchus •
Chorégraphe: Ashley Wallen •
Avec: Siobhan Dillon (Molly Jensen), Mark Evans (Sam Wheat), Sharon D Clarke (Oda Mae Brown), Andrew Langtree (Carl Bruner), Ivan de Freitas (Willie Lopez), Craig Stein (Subway Ghost), Ashley Knight (Hospital Ghost), Lisa Davina Phillip (Clara) and Jenny Fitzpatrick (Louise), Paul Ayres, Darren Carnall, Samuel Edwards, Callum Francis, Francesca Hoffman, Louise Lawson, Scott Maurice, Spencer O'Brien, Olivia Phillip, Jennifer Saayeng, Kirstie Skivington, Spencer Stafford, Rebecca Trehearn, Jez Unwin, Amy Webb and Sally Whitehead.
Commentaire: Reviews for the production were mixed, although there was unanimous praise for the amazing special effects by Paul Kieve. However, the public word-of-mouth was strong, attendances continued to grow, and the show received five Olivier nominations. In January 2012 Mark Evans and Siobhan Dillon took over the leads while Richard Fleeshman and Caissie Levy began rehearsals for a Broadway transfer. The Broadway production opened on April 23rd 2012 (previews from March 15th). The role of Oda Mae was performed by
Da’Vine Joy Randolph (who had played the role in the West End in December and January whilst Sharon D. Clarke was on leave.) (plus)
Presse: "It mostly lacks: heart and soul. For the rest, one is left to gawp at the ingenuity of Paul Kieve's illusions."
Michael Billington for The Guardian
"This may not be a great musical, but it is a highly entertaining one that looks set to keep audiences laughing, gasping and sniffing back tears for a long time to come."
Charles Spencer for The Daily Telegraph
"Worth going to?...I’d say yes – provided that...you are not expecting anything too subtle or classical."
Quentin Letts for The Daily Mail
"Paul Kieve's illusions thrill...It's all seamlessly inventive and full of synaesthetic pleasures, but it can't fully compensate for the shallowness in other departments."
Paul Taylor for The Independent
"With superb special effects and engaging performances, Matthew Warchus's production certainly has plenty of dazzle." Henry Hitchings for The Evening Standrad
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Musical
Revival
37) Grease (Revival)
Joué durant 3 ans 8 mois 3 semaines
Première preview: 25 July 2007
Première: 08 August 2007
Dernière: 30 April 2011
Compositeur: Jim Jacobs • Warren Casey •
Parolier: Jim Jacobs • Warren Casey •
Libettiste: Jim Jacobs • Warren Casey •
Metteur en scène: David Gilmore •
Chorégraphe: Arlene Phillips •
Avec: Matthew Goodgame (Danny), Carina Gillespie (Sandy), Jamie Capewell (Kenickie), Siubhan Harrison (Rizzo), Bennett Andrews (Sonny), Robyn Mellor (Marty), Susannah Allman (Patty), Jason Capewell (Teen Angel/Vince Fontaine) ,Kerry Winter ( Jan), David O'Reilly (Roger), Michael Pickering (Doody), Zoe Doano (Frenchy), Matthew Russell-Jones (Eugene), Nancy Hill (Miss Lynch), Kristina MacMillan (Cha Cha)
Commentaire:
Presse: NICHOLAS DE JONGH for THE EVENING STANDARD says, "How under-sexed, how under-done and under par I found director David Gilmore's attempt to put the brilliantine back into Grease!..Is it not high time producers found real stars for musicals again?" MICHAEL BILLINGTON for THE GUARDIAN says, "Danny Bayne as the hero displays bags of energy and has one good moment when he puffs on a last fag before setting off on a track-race, but he doesn't possess the mocking insolence of John Travolta in the movie. As for Susan McFadden, she has all of Sandy's wholesomeness and sings prettily, but has a painfully limited range of physical expression." SARAH CROMPTON for THE DAILY TELEGRAPH says, "Bayne...dances well enough, but he always appears to be copying someone else's moves - whenever he is asked to be still, or to think, he looks blank..."McFadden has a sweet smile and a strong voice. Unfortunately she belts out every ballad as if it were karaoke night; there's no finesse or feeling." SAM MARLOWE for THE TIMES says, "Lacklustre production...They all flounce and pose their way through Arlene Phillips’s uninspired and, on the whole, undemanding choreography." PAUL TAYLOR for THE INDEPENDENT says, "With its vestigial, embarrassing plot, Grease comes over, in this high-energy, high-decibel but completely unaffecting production, as a jukebox masquerading as a musical."
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Musical
Revival
36) Guys and Dolls (Revival)
Joué durant 1 an 10 mois 2 semaines
Nb de représentations: 773 représentations
Première preview: 19 May 2005
Première: 01 June 2005
Dernière: 14 April 2007
Compositeur: Frank Loesser •
Parolier: Frank Loesser •
Libettiste: Abe Burrows • Jo Swerling •
Metteur en scène: Michael Grandage •
Chorégraphe: Rob Ashford •
Avec: Ewan McGregor (Sky Masterton), Jane Krakowski (Miss Adelaide), Douglas Hodge (Nathan Detroit), Jenna Russell (Sarah Browne), Martyn Ellis (Nicely-Nicely), Cory English (Benny), Niall Buggy, Norman Bowman, Matthew Cole, Sevan Stephan
Commentaire: Il s'agit de la version co-produite par le Donmar Warehouse. This revival was very different in approach from the hugely successful National Theatre version, but it was generally regarded as equally as exciting and enjoyable. Ewan MacGregor came in for some mixed reviews, and most of the plaudits were for the American choreographer, Rob Ashford, for creating some of the most exciting dancing to be seen in the West End. Cast changes during the run saw Nigel Harman replace Ewan McGregor, and Nigel Lindsay and Neil Morrissey take over as Nathan Detroit. At the end of its first year further cast changes included Patrick Swayze as Nathan Detroit, Adam Cooper as Sky Masterton, Claire Sweeney as Miss Adelaide, and Kelly Price promoted from the chorus to take over as Sarah Brown. The production ran for almost
two years, and closed on April 14th 2007. (plus)
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Musical
Original
35) Jailhouse Rock (Original)
Joué durant 1 an
Nb de représentations: 420 représentations
Première preview: 26 March 2004
Première: 19 April 2004
Dernière: 23 April 2005
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: Alan Janes • Rob Bettinson •
Metteur en scène: Rob Bettinson •
Chorégraphe: Drew Anthony •
Avec: Mario Kombou (Vince Everett), Roger Alborough (Hawk), Lisa Peace (Peggy van Aulden), Gilz Terera (Quickly), Annie Wensak (Mama Everett), Dominic Colchester, Melanie Marcus, Mark Roper, Gareth Williams,
Commentaire: Based on the classic 1957 Elvis Presley film, this was adapted for the stage by the same team that created the successful “Buddy”. However, Lieber & Stoller refused permission for any of their film songs to be used (on the grounds they were planning their own stage version), and the Presley estate refused permission for any reference to Elvis himself. Accordingly the musical content became a collection of some 20 or so of the lesser know Elvis numbers and several generic 50s hits with no actual reference to Elvis Presley himself. The show was praised for its energy, and ran for a year. (plus)
Presse: NICK CURTIS for THE EVENING STANDARD says, “This is a mess that even diehard Presley fans will strain to love."
RHODA KOENIG for THE INDEPENDENT says, "Elvis by numbers lacks scorching heat of real King."
LYN GARDNER for THE GUARDIAN says, "An evening confused by the tension between its own nastiness and its bouncy Mills and Boon coating."
IAN JOHNS for THE TIMES says, "Before the first song is over, you feel that Elvis has already left the building."
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Théâtre
West End Transfer
34) Jumpers (West End Transfer)
Joué durant 3 mois 2 semaines
Première preview: 14 November 2003
Première: 20 November 2003
Dernière: 06 March 2004
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Divers •
Metteur en scène: David Leveaux •
Chorégraphe:
Avec: Simon Russell Beale (George Moore), Essie Davis (Dorothy)
Commentaire: Transfert de la version du National Theatre créée en juin 2003 au Lyttelton Theatre. Sera transféré à Broadway en avril 2004. (plus)
Presse: ROBERT HANKS for THE INDEPENDENT says, "It is still a marvellous display of Stoppard's verbal ingenuity, with some beautifully contrived cross-purposes and neat gags." MICHAEL BILLINGTON for THE GUARDIAN says, "One emerges having had a good time." BENEDICT NIGHTINGALE for THE TIMES says, "Beale triumphantly proves Jumpers worth reviving." NICHOLAS DE JONGH for THE EVENING STANDARD says, "Leveaux's spectacular production artfully unites Stoppard's contrary elements into a witty, though verbosely over-extended whole."
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Musical
Original London
33) Ragtime (Original London)
Joué durant 2 mois 3 semaines
Nb de représentations: 101 représentations
Première preview: 08 March 2003
Première: 19 March 2003
Dernière: 14 June 2003
Compositeur: Stephen Flaherty •
Parolier: Lynn Ahrens •
Libettiste: Terrence MacNally •
Metteur en scène: Stafford Arima •
Chorégraphe: Candace Jennings •
Avec: Maria Friedman (Mother),Graham Bickley (Tateh), Dave Willetts (Father), Kevyn Morrow (Coalhouse), Emma Jay Thomas (Sarah), Iain Davey (Henry Ford), Samuel James (Houdini), Mark McKerracher (JP Morgan), Susie McKenna (Emma Goldman), Rebecca Thornhill
(Evelyn Nesbit)
Commentaire: Based on the novel by E.L.Doctorow, this show opened in Toronto in 1966, and was re-staged the following year in Los Angeles. In January 1998 the show was given its Broadway production at the Ford Center for the Performing Arts in a cast that included Brian Stokes Mitchell, Marin Mazzie and Audra McDonald. It ran for 861 performances, winning many major awards, but closed suddenly in January 2000 when the producers were declared bankrupt. The London production, though highly praised, did not succeed, closing after just 101 performances. (plus)
Presse: NICHOLAS DE JONGH for THE EVENING STANDARD says, "The score...rarely compels ear or heart." He goes on to say, "Maria Friedman...sings with a rich, sinuous virtuosity."
BENEDICT NIGHTINGALE for THE TIMES says, " Brisk, pacey, tuneful..touching."
MICHAEL BILLINGTON for THE GUARDIAN says, "Packs a considerable emotional punch."
CHARLES SPENCER for DAILY TELEGRAPH says, "A show blessed with real heart, great songs and superb performances."
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32) Roméo et Juliette, de la haine à l'amour (Revival)
Joué durant 3 mois
Première preview: 18 October 2002
Première: 04 November 2002
Dernière: 08 February 2003
Compositeur: Gérard Presgurvic •
Parolier: Gérard Presgurvic •
Libettiste: William Shakespeare •
Metteur en scène:
Chorégraphe:
Avec: Roméo (Romeo) : Andrew Bevis (Gary Tushaw, Simon Bailey) / Juliette (Juliet) : Lorna Want ou Zara Dawson (Amy Creighton, Carly Tancredi) / Benvolio : Matt Dempsey (Tim Walton, Gary Tushaw) /
Mercutio : Rachid Sabitri (Simon Bailey, Tim Walton) / Tybalt : Alexis James (Matthew Wolfenden, Magnus Engqvist) / Lady Montaigu (Lady Montague) : Lousie Davidson (Susie Fenwick, Tamsin Stewart) / Lady Capulet : Michele Hooper (Louise Davidson, Melanie Tate) / La Nourrice (The Nurse) : Jane Mcdonald (Melanie Tate, Susie Fenwick) / Comte Capulet (Lord Capulet) : David Bardsley (James Graeme, Chris Middlebrook) / Comte Montaigu (Lord Montague) : James Graeme (Chris Middlebrook, Lez Dwight) / Frère Laurent (Friar Lawrence) : Sévan Stephan (Hadrian Delacey, Chris Midlebrook) / Le Prince de Vérone (The Prince) : Michael Cormick (Lez Dwight, Hadrian Delacey) / Paris : Tim Walton (Magnus Engqvist, Matthew Wolfenden) / Le Poète : n'apparaît pas dans cette production / La Mort : n'apparaît pas dans cette production
Danseurs : Simon Bailey, Chloë Bell, Jo Cavanagh, David Christopher, Amy Creighton, Stuart Dawes, Zara Dawson, Hadrian Delacey, Lez Dwight, Magnus Engqvist-James, Susie Fenwick, Nic Ineson, Martin Matthias, Chris Midlebrook, Ebony Molina, Tamsin Stewart, Carly Tancredi, Melanie Tate, Gary Tushaw, Tamara Wall, Matthew Wolfenden
Commentaire: The French original - “Roméo et Juliette: de la Haine à l'Amour” - with music and lyrics by Gérard Presgurvic premiered in Paris in January 2001, and was hugely successful. It received a Flemish-language production in Belgium and then this English-language London version. There was some praise for Jane McDonald, better known as the accidental star of the BBC documentary “The Cruise”, and all agreed she turned out to be unexpectedly good and the best thing in the show. However, from there onwards, it was all downhill. Samples of the dialogue included: “Lady Montague is in a right state” and “Romeo’s dipping his wick in the old man’s daughter”. Samples of the lyrics included: “Now she’s in love and everything has changed/ Her feelings and her hair have all been re-arranged” and “Forbidden love comes at a price/But it is worth the sacrifice” Samples of the reviews included: “Witless, banal, clumsily staged, abysmally written and often buttock-clenchingly embarrassing” and “Aficionados of all-time great bad musicals had better make haste. This one is a real collector’s item”. It was unanimously accorded major disaster status, and limped on just 14 weeks. However, M. Presgurvic need not have been too depressed by his London failure. Since then, it has been translated into Hungarian, Russian, German, Spanish, Romanian and Japanese, and has been produced in a dozen different countries ranging from Canada to South Korea. It has been particularly successful in Vienna and Eastern Europe. (plus)
Presse: SHERIDAN MORLEY for TELETEXT says, "The acting goes from inadequate to terrible....Shambles"
NICHOLAS DE JONGH for THE EVENING STANDARD says, "Dire musical....Valient performance, but a plague on both the music and lyrics".
CHARLES SPENCER for THE DAILY TELEGRAPH says, "Aficionados of all-time great bad musicals had better make haste. This one is a real collector's item." He goes on to say, " It's witless, banal, clumsily staged, abysmally written and often buttock-clenchingly embarrassing."
IAN JOHNS for THE TIMES says, "It remains faithful to Shakespeare’s basic storyline but...cannot save the story from drowning in a sea of Eurovision power ballads."
PAUL TAYLOR for THE INDEPENDENT says, "An unholy mess."
LYN GARDNER for THE GUARDIAN says, "Bland and boring."
LISA MARTLAND for THE STAGE says, "A dedicated ensemble does its best to keep the show together but they are beaten down by mediocrity."
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31) My one and only (Original London)
Joué durant 5 mois 1 semaine
Nb de représentations: 183 représentations
Première preview: 09 February 2002
Première: 25 February 2002
Dernière: 03 August 2002
Compositeur: George Gershwin •
Parolier: Ira Gershwin •
Libettiste: Peter Stone • Timothy S Mayer •
Metteur en scène: Loveday Ingram •
Chorégraphe: Craig Revel Horwood •
Avec: Tim Flavin (Captain Billy Buck), Janie Dee (Edythe), Hilton McRae (Prince Nikki), Jenny Galloway (Mickey), Richard Calkin (Revd. Montgomery), Richard Lloyd King (Mr Magix), Paul J. Medford, Horace Oliver, Mykal Rand, Omar F. Okai, Kevin Brewis.
Commentaire: This show started life as a revival of the Gershwins’1927 musical “Funny Face”, but by the time it opened in New York in May 1983 it had been given a new story, cut half the original songs and added numbers from other Gershwin shows); and had gone through 4 directors and 6 librettists. Given a new title, “My One and Only”, ran for 767 Broadway performances starring Twiggy and Tommy Tune. Its UK premiere was at Chichester in July 2001, and transferred to the West End. It generally received good notices, with special praise for the choreography but only managed 183 performances and a five month run. (plus)
Presse: NICHOLAS DE JONGH for THE EVENING STANDARD says, “You come out tap-dancing on air, thanks to the addictive rhythms of the songs and music.”
MICHAEL BILLINGTON for THE GUARDIAN says, “The songs are delightful, the choreography first rate - and even if the show feels as if it has been assembled rather than actually created, it leaves us with a pleasantly comfortable glow.”
PAUL TAYLOR for THE INDEPENDENT says, “The show is dance-driven, with hit-and-miss (mostly hit) synchronised tap choreography”
CHARLES SPENCER for THE DAILY TELEGRAPH says it is a “warm, glamorous production” and goes on to say, “My One and Only looks like a splash hit to me.”
JOHN THAXTER for THE STAGE says, "Gorgeous, tuneful staging".
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30) La Cava (Reprise)
Joué durant 5 mois 2 semaines
Nb de représentations: 192 représentations
Première preview: 21 August 2000
Première: 21 August 2000
Dernière: 03 February 2001
Compositeur: Laurence O'Keefe •
Parolier: John Claflin • Laurence O'Keefe • Shaun McKenna •
Libettiste: Dana Broccoli •
Metteur en scène: Steven Dexter •
Chorégraphe: Mitch Sebastian •
Avec: Oliver Tobias (King Roderic), Julie-Alanah Brighten (Florinda), David Bardsley (General Espatorias), Daniel Redmond (Somal), Paul Keating (Agon), Patrick Romer (Archbishop), Joshua Bancel (Tariq), Richard Woodford (Marcus), Marilyn Cutts, Luke Evans
Commentaire: Dana Broccoli was the widow of the legendary producer of the James Bond films, and a successful novelist in her own right. This lavishly funded production was magnificently staged with spectacular battle-scenes. The notices were mixed, though generally they tipped towards the view that the audience would certainly get its money’s worth and lovers of great romantic, spectacular over-blown epics would have a great night’s entertainment. After seven weeks at the Victoria Palace it transferred to the Piccadilly Theatre and finally closed after a total run of eight months, closing February 3rd, 2001 (plus)
Presse: BRIAN LOGAN for TIME OUT says, 'La Cava' is actually rather good." He goes on to say, "Its songs aren't bland or saccharine; they can be witty or...vicious." He finishes by saying "A rollicking good yarn which deserves to succeed."
LISA MARTLAND for THE STAGE says, "There are those who probably could not wait for another victim to add to the current toll of musical turkeys, but this...might not be so easy to dismiss." She goes on to say, "Laurence O'Keefe and Stephen Keeling's music can be bland on occasion, but there are also some nice melodies.."
THE INDEPENDENT says, "Dana Broccoli's scenario began life as a novel, a form which thrives on endless complications. But on stage all that plot feels like two and a half hours of exposition. Broccoli and her composers and lyricists simply cannot turn it all into a satisfying musical scenario."
THE FINANCIAL TIMES says, "This strange event, based on the novel by Dana Broccoli (which in turn is based on historical events), is not dislikeable, just rather relentless. There are witty lines and comic moments, but they get swallowed up in the rising tide of passion and unremitting succession of events."
THE TIMES says, "On paper it promises more dramatic excitement than, say, Cats. But paper is paper and the stage the stage. La Cava is, as it turns out, far from the worst of the period musicals that have been clogging up the West End of late." THE DAILY TELEGRAPH says, "Another day, another doomed musical. Yet of all the turkeys that have arrived on our stages recently, La Cava is the one I've enjoyed most. It's tosh, of course, but often surprisingly entertaining tosh, though the bovine stupidity of producers continues to baffle me."
THE EVENING STANDARD says, "The cast do their best with a cumbersome framework. Tobias is rugged enough while the likable Julia-Alanah Brighten makes a decent stab at evolving from teenybopper to seductress to her chastened denouement."
THE SUNDAY TIMES says, "Oliver Tobias brings quiet dignity to a woefully underwritten role."
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29) Spend Spend Spend (Original)
Joué durant 9 mois 4 semaines
Nb de représentations: 342 représentations
Première preview: 05 October 1999
Première: 12 October 1999
Dernière: 05 August 2000
Compositeur: Steven Brown •
Parolier: Steven Brown •
Libettiste: Steven Brown •
Metteur en scène: Jeremy Sams •
Chorégraphe: Craig Revel Horwood •
Avec: Barbara Dickson (Viv Nicholson), Rachel Leskovac (Young Viv), Steve Houghton (Keith), Jeff Shankley (George), Jonathan Bum, Tania Caridia, Susan Fay, Kate Harbour, Marjorie Keys, Gary Milner, Craig Nicholls, Stuart Nurse, Stuart Pendred, Robin Samson, Jeff Shankley, Nicola Sloane, Duncan Smith, Jamie Somers, Mary Stockley , Paul Thomloy.
Commentaire: The musical had its first performance in 1998 at the West Yorkshire Playhouse. The London production opened in October and ran until August in the following year. It won the Evening Standard and Critics’ Circle Awards as Best Musical, and Barbara Dickson won the Olivier Award for the Best Actress in a Musical. It ended on August 5th 2000 - a run of over nine months. (plus)
Presse: CHARLES SPENCER of THE DAILY TELEGRAPH says, "Best new British musical in years" and goes on to say "Spend Spend Spend is popular entertainment at its best, devoid of the cynical contrivance of so many musicals and blessed with heart, humour and irresistible humanity."
BENEDICT NIGHTINGALE of THE TIMES says the show has "splendidly lively songs" and "excellent lyrics".
IAN SHUTTLEWORTH of THE FINANCIAL TIMES says, "It is the most glorious new musical I can ever recall seeing." He goes on to say "Spend Spend Spend fully deserves to join Blood Brothers as a working-class "up yours" fixture among West End musicals...."
However, NICHOLAS DE JONGH of THE EVENING STANDARD was luke warm about the show saying, "Unfortunately this musical lacks a sharp book of lyrics, though there's some rollicking fun on the journey."
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28) 4 Steps to Heaven (Original)
Joué durant 2 mois
Nb de représentations: 72 représentations
Première preview: 27 July 1999
Première: 29 July 1999
Dernière: 02 October 1999
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Divers •
Metteur en scène: Keith Strachan •
Chorégraphe:
Avec: Peter Howarth (Roy Or bison), Rebel Dean (Elvis Presley), Kludo White (Eddie Cochran), Reuven Gershon (Buddy Holly)
Commentaire: 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. (plus)
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27) Elvis, the musical (Revival)
Joué durant 2 mois 3 semaines
Première preview: 18 June 1997
Première: 19 June 1997
Dernière: 13 September 1997
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: Jack Good • Ray Cooney •
Metteur en scène: Carole Todd • Keith Strachan •
Chorégraphe: Carole Todd •
Avec: Alexander Bar (Young Elvis), Fergus Moriarty (Middle Elvis), Michael Dimitri (Older Elvis),
Commentaire: This was back in the West End for the second time, with some cast changes, following its UK tour. (plus)
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26) Mack and Mabel (Revival)
Joué durant 7 mois 3 semaines
Nb de représentations: 270 représentations
Première preview: 24 October 1995
Première: 07 November 1995
Dernière: 29 June 1996
Compositeur: Jerry Herman •
Parolier: Jerry Herman •
Libettiste: Michael Stewart •
Metteur en scène: Paul Kerryson •
Chorégraphe: Michael Smuin •
Avec: Howard McGillin (Mack), James Smillie (Mack à partir de février), Caroline O'Connor (Mabel), Kathryn Evans (Lottie), Jonathan D. Ellis (Frank), Philip Herbert (Fatty), Graham Hubbard (Kleinman), Alan Mosley (Fox), Julia Parrott (Ella), Ray Scott-Johnson (William Desmond Taylor)
Commentaire: This had been a spectacular two month flop on Broadway in 1974, despite leading stars Robert Preston and Bernadette Peters, directed by Gower Champion. It had occasional touring and stock revivals in America but seemed unlikely to come to the West End. In 1984 the Olympic ice skaters Torvill and Dean used the overture as music for their gold-medal winning performance, and then the radio disc-jockey David Jacobs began promoting the album, claiming, quite rightly, it was one of the very best and most ignored of musical scores. Finally, 21 years after its Broadway premiere, a production was mounted at Leicester Haymarket and brought into the West End. The book had been revised to create a happy ending (in the original Mabel Normand died), and some new songs were added, but the book proved to be the problem. The songs were great, yet the show didn’t really hang together. It managed a seven month run during which Howard McGillan was replaced with James Smillie. (plus)
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25) Only the Lonely (Original)
Joué durant 1 an 2 semaines
Première preview: 27 September 1994
Première: 27 September 1994
Dernière: 15 October 1995
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Divers •
Metteur en scène: Bill Kenwright • Ian Kellgren •
Chorégraphe:
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
Commentaire: 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. (plus)
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24) Piaf (Revival)
Joué durant 6 mois
Première preview: 13 December 1993
Première: 13 December 1993
Dernière: 18 June 1994
Compositeur:
Parolier: Pam Gems •
Libettiste: Pam Gems •
Metteur en scène: Peter Hall •
Chorégraphe:
Avec:
Commentaire:
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23) Robin, Prince of Sherwood (Original)
Joué durant 2 mois 3 semaines
Nb de représentations: 109 représentations
Première preview: Inconnu
Première: 03 February 1993
Dernière: 02 May 1993
Compositeur: Peter Howarth • Rick Fenn •
Parolier: Peter Howarth • Rick Fenn •
Libettiste:
Metteur en scène: Bill Kenwright •
Chorégraphe: Henry Metcalf •
Avec: Mike Holoway {Robin Hood), Peter Howarth (Sheriff of Nottingham), Anne Smith (Morgana), Liz Cumick (Maid Marion), Peter Lawrence (Earl ofLoxley), Nicholas Pound (King Richard), Joe Connors (Guy of Gisbournme), Paul Collis, Steven Varnom, Adrian Beaumont, Alan Gear, Adam Bell, Ashley Heech
Commentaire: This show followed th appalling “Which Witch” into the Piccadilly, and the critics had a field day deciding which was the bigger disaster. Like the earlier Robin Hood flop, Lionel Barfs “Twang”, this was condemned as tacky panto, with “musical moments of heavily miked mediocrity … and with lyrics of sanctimonious unction” (plus)
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22) Which witch (Original London)
Joué durant 1 mois 4 semaines
Première preview: Inconnu
Première: 22 October 1992
Dernière: 19 December 1992
Compositeur: Benedicte Adrian • Ingrid Bjornov •
Parolier: Kit Hesketh-Harvey •
Libettiste: Piers Haggard •
Metteur en scène: Piers Haggard •
Chorégraphe: Will Tuckett •
Avec: Benedicte Adrian (Maria Vittoria), Graham Bickley (Bishop Daniel), Stig Rossen (Anton Fugger), Vivien Parry (Anna Regina), Sara Weymouth, Leo Andrew, Gay Soper, Jahn Teigen, Issy van Randwyck, Paul Gyngell, Derek Cullen, Michael McLean
Commentaire: Originally a concert piece performed in Bergen in 1987, this became a best-selling album in Scandinavia and was turned into a full-scale stage musical. However, the production was jaw-droppingly awful. The best remembered scene - the Act One finale - saw a stage full of flying devils, with huge flapping genitals, having graphic sex with many three-breasted witches. Despite package tours from Scandinavia and a much-publicised visit from King Harald and Queen Sonja of Norway, the show lasted just ten weeks. It received the most damning series of critical reviews anyone could remember. Some critics suggested it was Norway’s revenge for always coming bottom in the Eurovision Song Contest, especially since Jahn Teigen (legendary receiver of “nul point” in 1978 ) appeared as the Executioner with a song called “Who do you want to bum?”. According to Sheridan Morley in the “Herald Tribune”: “Years from now, stunned members of the first-night audience will be holding reunions to try to recall whether ‘Which Witch’ was really as appalling as it first appeared. It was, it was.” (plus)
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21) Moby Dick (Original London)
Joué durant 3 mois 2 semaines
Première preview: 17 March 1992
Première: 17 March 1992
Dernière: 04 July 1992
Compositeur: Hereward Kaye • Robert Longden •
Parolier: Hereward Kaye • Robert Longden •
Libettiste: Robert Longden •
Metteur en scène: Robert Longden •
Chorégraphe: Anthony Lapsey •
Avec: Tony Monopoly (Dorothy Hyman/Ahab), Hope Augustus (Lolita/Esta/Tashtego), Jayne Collins (Trixie/Starbuck), Jackie Crawford (Cora/Pip/Chilean), Theresa Kartell, Leigh MacDonald, Joanne Redman, Dawn Spence, Earl Tobias, Mark White, Emma Priest, John Tobias
Commentaire: The show generally met with critical howls of derision. Cameron Mackintosh kept the show running for 15 weeks in the hope of building up some kind of cult following – but it finally succumbed to the inevitable. Over the years it would acquire a “legendary flop” status. (plus)
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20) Rocky Horror Show (The) (Revival)
Joué durant 11 mois 1 semaine
Nb de preview: 20 previews
Nb de représentations: 392 représentations
Première preview: 16 July 1990
Première: 16 July 1990
Dernière: 22 June 1991
Compositeur: Richard O'Brien •
Parolier: Richard O'Brien •
Libettiste: Richard O'Brien •
Metteur en scène: Robin Lefevre •
Chorégraphe: Stuart Hopps •
Avec: Tim McInnery (Frank N. Furter), Jonathan Adams (Narrator), Adrian Edmondson (Brad), Gina Bellman (Janet), Linda Davidson (Columbia), Gordon Kennedy (Eddie/Dr. Scott), Edward Tudor-Pole (Riff Raff), Mary Maddox (Magenta/Trixie), Adam Caine (Rocky), Zallie Burrow (Phantom)
Notable celebrities have been cast including Tim McInnerny, Anthony Head, Robin Cousins, Jason Donovan and Jonathan Wilkes as Frank N. Furter and TV's Craig Ferguson as Brad Majors.
Commentaire: For the past eight years the Theatre Royal Hanley/Kenneth More Theatre production of “Rocky Horror Show” had been touring the UK non-stop with
enormous success, breaking box office records everywhere and creating its own nation-wide cult following. On several occasions the tour had been invited to stage a West End season, but Richard O’Brien regularly refused permission, and decided to stage a revival under his own management.
Under standard rules at the time, a West End revival meant a 50 mile radius of London embargo on any provincial productions, thus forcing the touring production to end. Adam Caine (as Rocky) was the only member of the original tour invited to appear in the West End revival. This revival ran for just under a year. (plus)
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19) King, a Musical Testimony (Original)
Joué durant 1 mois
Nb de représentations: 58 représentations
Première preview: 07 April 1990
Première: 23 April 1990
Dernière: 26 May 1990
Compositeur: Richard Blackford •
Parolier: Alistair Beaton • Maya Angelou •
Libettiste: Lonnie Elder • Richard Nelson •
Metteur en scène: Clarke Peters •
Chorégraphe: Dianne McIntyre •
Avec: Simon Estes (Martin Luther King), Cynthia Haymon (Coretta King), Godfrey James (Billy), George (Clarke Peters), Leon Greene (Lyndon B. Johnson)
Commentaire: This was a deeply troubled show. Before the opening night writers, directors, a producer, a leading actor had all either walked out or been sacked following rows over racial politics, money or artistic content. Maya Angelou wanted her name removed from the credits saying “it takes a black man to write about a black man and there hasn’t been a single black man in the writing of this show”. Martin Luther King’s widow, Coretta, initially had strong objections to the show and attempted to ban the impersonation of herself. Once it had opened, the show was criticised for its lack of drama and character. The book and the production itself were described as “an insignificant offering. . . of such banality it is a crime against humanity... melodramatic Jim Crowism... with little dramatic flair and less depth.” It closed after six weeks with losses of around £3 million. (plus)
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18) A Little Night Music (Revival)
Joué durant 4 mois 2 semaines
Nb de représentations: 144 représentations
Première preview: 06 October 1989
Première: 06 October 1989
Dernière: 17 February 1990
Compositeur: Stephen Sondheim •
Parolier: Stephen Sondheim •
Libettiste: Hugh Wheeler •
Metteur en scène: Ian Judge •
Chorégraphe: Anthony Van Laast •
Avec: Madame Armfeldt - Lila Kedrova / Desiree Armfeldt - Dorothy Tutin /
Fredrika Armfeldt - Debra Beaumont / Frid, her manservant - David Hitchen / Fredrik Egerman - Peter McEnery / Henrik Egerman - Alexander Hanson / Anne Egerman - Deborah Poplett / Petra, their maid - Sara Weymouth / Count Carl-Magnus Malcolm - Eric Flynn / Countess Charlotte Malcolm - Susan Hampshire / Malla - Mandi Martin / Osa - Susan Paule / Mrs. Nordstrom - Dinah Harris / Mrs. Anderssen - Hilary Western / Mrs. Segstrom - Susan Flannery / Mr. Erlanson - Michael Bulman / Mr. Lindquist - Martin Nelson
Commentaire: This production was originally produced at the Chichester Festival Theatre (plus)
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17) Metropolis (Original)
Joué durant 6 mois
Nb de représentations: 214 représentations
Première preview: Inconnu
Première: 01 March 1989
Dernière: 02 September 1989
Compositeur: Joseph Brooks •
Parolier: Dusty Hughes • Joseph Brooks •
Libettiste: Joseph Brooks • Suzan Brooks •
Metteur en scène: Jerome Savary •
Chorégraphe: Tom Jobe •
Avec: Brain Blessed (John Freedman), Judy Kuhn (Maria/Futura), Graham Bickley (Steve), Jonathan Adams {Warner), Paul Keown (Jeremiah), Stiffyn Parri (George), Lindsay Danvers (Jade), Colin Fay (Groat), Megan Kelly (Lake), Robert Fardell (Marco), Lucy Dixon (Lulu), Kevin Power, Gael Johnson
Commentaire: Based on the 1927 Fritz Lang film, the musical version has changed some of the names and given the story a new ending. In spite of breathtaking scenery by Ralph Koltai, and a lavish production, the show received very mixed notices and came off after just six months, losing its entire £2.5 million investment. The authors did a lot of work rewriting the show and did get some provincial USA productions. (plus)
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16) ** Hors DB Musical (Original)
Joué durant 5 mois 1 semaine
Nb de représentations: 104 représentations
Première preview: Inconnu
Première: 15 August 1988
Dernière: 21 January 1989
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Divers •
Metteur en scène: Wayne A. Findlay •
Chorégraphe: Henry Metcalf •
Avec: Naomi Eyers, Alison Jiear, Lisa Shipley (The Fabulous Singlettes), with David Glynde, Gordon Marshall, Ant Glynn, John Gustafson, Jason McDermid, Wayne Findlay
Commentaire: 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. (plus)
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15) Blues in the Night (West End Transfer)
Joué durant 9 mois 4 semaines
Nb de représentations: 346 représentations
Première preview: Inconnu
Première: 28 September 1987
Dernière: 23 July 1988
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste:
Metteur en scène: Sheldon Epps •
Chorégraphe: Sheldon Epps •
Avec: Cast: Carol Woods, Debbie Bishop, Maria Friedman, Peter Straker
Commentaire: This was a heavily revised version which was much praised at the Donmar and transferred for a successful run to the Piccadilly. (plus)
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West End Transfer
14) Lady Day (West End Transfer)
Joué durant 1 mois 2 semaines
Première preview: Inconnu
Première: 21 April 1987
Dernière: 06 June 1987
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: Stephen Stahl •
Metteur en scène: Stephen Stahl •
Chorégraphe:
Avec: Dee Dee Bridgewater (Billie Holliday)
Commentaire: The life and songs of Billie Holliday received a virtuoso performance from American jazz singer, Dee Dee Bridgewater.
She was nominated for an Olivier Award for this performance. Earlier in her career she had won the 1975 Tony Award for her appearance on Broadway in “The Wiz”. Later in her career she would be appointed an Honorary United Nation Ambassador for the Food and Agriculture Organisation in African countries.
Transfer from The Donmar Warehouse 25 February 1987 to 4 April 1987 (plus)
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Musical
Revival
13) A funny thing happened on the way to the Forum (Revival)
Joué durant 1 mois 1 semaine
Nb de représentations: 49 représentations
Première preview: Inconnu
Première: 14 November 1986
Dernière: 27 December 1986
Compositeur: Stephen Sondheim •
Parolier: Stephen Sondheim •
Libettiste: Burt Shevelove • Larry Gelbart •
Metteur en scène: Larry Gelbart •
Chorégraphe: George Martin •
Avec: Frankie Howerd (Pseudolus), Patrick Cargill (Senex), Betty Benfield (Domina), Graeme Smith (Hero), Ronnie Stevens (Hysterium), Fred Evans (Marcus Lycus), Derek Royle (Erronius), Leon Greene (Miles Gloriosus), Lydia Watson (Philia), Max Cane (Protean), Richard Drabble (Protean), Chris Eyden (Protean), Julie and Tracy Collins (Geminae), Elizabeth Elvin (Gymnasia), Claire Lutter (Tintinnabula), Sharon Stephens (Vibrata), Billi Wylde (Panacea)
Commentaire: This production transferred from Chichester where it had been an independent “guest” production. The Chichester management claimed they
had expected an entirely new production and not a “carbon-copy” of the original from 25 years ago, since fashions had changed. The London management blamed the flop on too much American competition in the London musical scene and pointed out that Chichester’s own in-house “Annie Get Your Gun” had also been a recent London flop. (plus)
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Musical
Original
12) Mutiny (Original)
Joué durant 1 an 2 mois
Nb de représentations: 526 représentations
Première preview: Inconnu
Première: 22 July 1985
Dernière: 20 September 1986
Compositeur: David Essex •
Parolier: Richard Crane •
Libettiste: Richard Crane •
Metteur en scène: Michael Bogdanov •
Chorégraphe: Christopher Bruce •
Avec: David Essex (Fletcher Christian), Frank Finlay (Captain Bligh), David Oakley (William Elphinstone), Shaun Curry (Boatswain), Frank Olegarion (King Hiti-Hiti), Nicola Blackman (Queen Hittimahana), Sinitta Renet (Maimiti)
Commentaire: This started as a 1983 concept LP by David Essex which spawned a Top Ten hit record, “Tahiti”. The stage version was lavish, featuring a fully rigged sailing ship mounted on a hydraulic system and “sailing” spectacularly to and fro. The music was pastiche marches, sea-shanties and hornpipes. The initial reviews were damning: “Disaster at sea”, “Bounty in Blunderland”, “A sinking showboat” - but somehow the producers found the money to keep it running. As it entered its second year it was announced that David Essex would be replaced by David Cassidy but a sudden decision was made and the show closed abruptly in September. It had lost all its original investment and more due to high running costs. (plus)
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Musical
Original London
11) Pump Boys and dinettes (Original London)
Joué durant 8 mois 2 semaines
Nb de représentations: 302 représentations
Première preview: Inconnu
Première: 25 September 1984
Dernière: 08 June 1985
Compositeur: Pump Boys and dinettes •
Parolier: Pump Boys and dinettes •
Libettiste: Pump Boys and dinettes •
Metteur en scène: David Taylor •
Chorégraphe:
Avec: Paul Jones (Jim), Brian Protheroe (L.M.) , Gary Holton (Eddie), Julian Littman (Jackson), Kiki Dee (Rhetta), Carlene Carter (Prudie)
Commentaire: The show ran on Broadway for 15 months, winning many awards and a Tony Nomination. The West End production took over from the financially disastrous “Y” at the Piccadilly, but was still presented as an “after-dinner” attraction with the stalls used for pre-show dining. It was performed in a more conventional setting when it transferred to the Albery. Cast changes during its run included Joe Brown, Clodagh Rodgers, Peter Duncan, Lyndsey de Paul, Jeremy Clyde and Chad Stuart.
Transfered to Albery Theatre (plus)
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Musical
Original
10) Y - A musical spectacular (Original)
Joué durant 1 an 1 mois
Première preview: 27 June 1983
Première: 27 June 1983
Dernière: 28 July 1984
Compositeur: Frédéric Botton • Robert Purvis •
Parolier:
Libettiste: Arturo Brachetti • Carol Roboh • Jean-Marie Rivière • Pierre Simoni •
Metteur en scène: Jean-Marie Rivière •
Chorégraphe: Molly Malloy •
Avec: Arturo Brachetti, Nicola Kimber, Ward Alexander, Bunty Bailey, Patrick Kealey, Kit & The Widow, Fiona Lewis, Adrian Richard Swerhun, Gillian Winn
Commentaire: In 1983, "I", this much-heralded “dinner theatre and cabaret” show was a “new” kind of entertainment. All the seats in the stalls had been removed and the evening started with a meal and some fringe entertainment from the waiters. Later (a kind of “second doors”) the non-eating public were admitted to the circles and the cabaret began.
The show was built around a series of spectacular magic tricks by the young quick-change artist, Arturo Brachetti. The auditorium walls were covered in “eyes” - reflecting the name of the show. Some of the complicated tricks failed to work properly, technically things kept falling apart - even the serving of the food failed to finish in time for the proposed start of the show. The production was withdrawn,and completely re-directed and re-staged. Given a new title “Y”, it opened two months later.
The new production worked much better. Arturo Brachetti, who was said to change costume 80 times in the show, and all the grand illusions were successfully staged. The show featured things like a Dracula-type scene where Veronica of Battersea is sawn in half by the wicked Count Alboretto, and then a chorus of heavenly fairies attempt to put the pieces back together again; a Venetian scene with gondolas and Casanova; a Pierrot scene with a flying Pierrot; a Ziegfeld-meets-Crazy-Horse scene with scantily clad tigers and panthers and a lot of whipping; some original music and a lot of miming to “standards”. All over the theatre were a series of eyes that lit up and winked throughout (these were left over from the previous incarnation “I”.) It was all very spectacular, exotic and over the top. No one quite knew what to make of it, but its sheer novelty value proved to be an attraction and it ran for a year. Arturo Brachetti was nominated for a Society of West End Theatre Award. (plus)
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Musical
Original
9) I (Original)
Joué durant
Première preview: Inconnu
Première: 16 March 1983
Dernière: Inconnu
Compositeur: Robert Purvis •
Parolier: Paul Prescott •
Libettiste: Arturo Brachetti •
Metteur en scène: Arturo Brachetti •
Chorégraphe:
Avec:
Commentaire: This much-heralded “dinner theatre and cabaret” show was a “new” kind of entertainment. All the seats in the stalls had been removed and the evening started with a meal and some fringe entertainment from the waiters. Later (a kind of “second doors”) the non-eating public were admitted to the circles and the cabaret began.
The show was built around a series of spectacular magic tricks by the young quick-change artist, Arturo Brachetti. The auditorium walls were covered in “eyes” - reflecting the name of the show. Some of the complicated tricks failed to work properly, technically things kept falling apart - even the serving of the food failed to finish in time for the proposed start of the show. The production was withdrawn,and completely re-directed and re-staged. Given a new title “Y”, it opened two months later. (plus)
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Musical
Revival
8) Very Good Eddie (Revival)
Joué durant
Nb de représentations: 411 représentations
Première preview: 23 March 1976
Première: 23 March 1976
Dernière: 1977
Compositeur: Jerome Kern •
Parolier: Schuyler Green •
Libettiste: Guy Bolton • Philip Bartholomae •
Metteur en scène: Bill Gile •
Chorégraphe:
Avec: Richard Freeman (Eddie Kettle), Cookie Weymouth (Georgina Kettle), Nigel Williams (Percy Darling), Prue Clarke (Elsie Darling), Robert Swann (Dick Rivers), Mary Barrett (Elsie Lilly), Gita Denise (Mme. Matroppo)
Commentaire: La production originale de Londres s'était jouée au Palace Theatre le 18 mai 1918, où il n'avait enu l'affiche que seulement 46 réprésentations – il a été jugé beaucoup trop "osée". L'énorme siuccès d'un revival à Broadway en 1975, incorporant quelques chansons supplémentaires, a incité ce premier revival dans le West End après 55 années. (plus)
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Musical
Original London
7) Gypsy (Original London)
Joué durant 9 mois 1 semaine
Nb de représentations: 300 représentations
Première preview: 29 May 1973
Première: 29 May 1973
Dernière: 02 March 1974
Compositeur: Jule Styne •
Parolier: Stephen Sondheim •
Libettiste: Arthur Laurents •
Metteur en scène: Arthur Laurents •
Chorégraphe: Robert Tucker •
Avec:
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Musical
Original London
6) Man of la Mancha (Original London)
Joué durant
Nb de représentations: 253 représentations
Première preview: Inconnu
Première: 24 April 1968
Dernière: Inconnu
Compositeur: Mitch Leigh •
Parolier: Joe Darion •
Libettiste: Dale Wasserman •
Metteur en scène:
Chorégraphe:
Avec:
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Musical
Revival
5) Oliver! (Revival)
Joué durant
Nb de représentations: 391 représentations
Première preview: 26 April 1967
Première: 26 April 1967
Dernière: Inconnu
Compositeur: Lionel Bart •
Parolier: Lionel Bart •
Libettiste: Lionel Bart •
Metteur en scène:
Chorégraphe:
Avec:
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Théâtre
Revival
4) Skin of Our Teeth (The) (Revival)
Joué durant
Première preview: Inconnu
Première: 11 September 1946
Dernière: Inconnu
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Divers •
Metteur en scène: Laurence Olivier •
Chorégraphe:
Avec: Vivien Leigh (Sabina), George Devine (Mr. Antrobus), Esther Somers (Mrs. Antrobus).
Commentaire: Peu de temps après l'ouverture au Phoenix Theatre, la pièce est partie en UK-Tour pour 4 semaines, avant une tournée européenne de 6 semaines.
Le spectacle est repris en septembre 1946 au Picadilly Theatre.
Elle sera jouée lors d'un Australian Tour en 1948 (en même temps que la tournée australienne de l'Old Vic Company). (plus)
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Musical
Original London
3) Panama Hattie (Original London)
Joué durant
Nb de représentations: 308 représentations
Première preview: 04 November 1943
Première: 04 November 1943
Dernière: Inconnu
Compositeur: Cole Porter •
Parolier: Cole Porter •
Libettiste: B.G. DeSylva • Herbert Fields •
Metteur en scène: William Mollison •
Chorégraphe:
Avec: Bebe Daniels (Hattie Maloney), Ivan Brandt (Nick Bullett), Max Wall (Eddy Brown), Claude Hulbert (Vivian Budd), Richard Hearne (Loopy Smith), Frances Marsden (Florrie), Jack Stanford (Joe Briggs), Georgia MacKinnon (Leila Tree), Betty Blacker (Elizabeth Bullett), Marian Pola (Chiquita)
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Original London
2) Sunny River (Original London)
Joué durant 2 mois
Première preview: 18 August 1943
Première: 18 August 1943
Dernière: October 1943
Compositeur: Sigmund Romberg •
Parolier: Oscar Hammerstein II •
Libettiste: Oscar Hammerstein II •
Metteur en scène: Maxwell Wray •
Chorégraphe:
Avec: : Denis Noble (Jean Gervais), Evelyn Laye (Marie Sauvinet), Ena Burrell (Cecile Marshall), Bertram Wallis (George Marshall), Bernard Astell (Drunken Man), Lolita (Edith Day), Lionel Trim (Street Singer)
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