Londres
Prince of Wales Theatre
Londres - Angleterre
Construction: 1884
Topologie du théâtre
Nombre de salles actives: 1
Salle 1: (1130) 1884 - Actif
Accès
En métro: Piccadilly Circus/Leicester Square
En bus: 3, 6, 9, 12, 13, 14, 15, 19, 22, 23, 38, 88, 94, 139, 159, 453
Adresse: 31 Coventry Street, Leicester Square, London, W1D 6AS
Evolution
Bâtiment: 1884. Prince’s Theatre designed by C. J. Phipps for actor-manager Edgar Bruce / 1886. Theatre renamed Prince of Wales / 1937. Old theatre demolished; in June, foundation stone of new theatre laid by Grade Fields; in October, replacement theatre, designed by Robert Cromle, opens / 2003. Major refurbishment by the Arts Team at RHWL. Theatre reopened by Prince Charlies In 2004 / Statutorily Listed Historic Building: Grade II
Nom:
Propriétaire(s)
Delfont Mackintosh Theatres
Remarquable
Superb collection of framed playbills, posters and photographs.
1130
1884 - Actif
The Prince of Wales is situated on the eastern angle of Oxenden Street, about halfway between Piccadilly Circus and Leicester Square, adjacent to the more flowery Thistle Hotel, a seven-storey, late-19th-century Portland-stone block to its east. Almost opposite, on Coventry Street - named after King Charles II's Secretary of State, Henry Coventry - is the grand front of the former Trocadero Restaurant, along with a number of quite fine Edwardian façades. In Oxenden Street the architectural character changes with a varied run of smaller-scale buildings at its southern end, becoming large and bland on its western angle with Coventry Street.
The theatre Is the second on the site; the first opened on 18 January 1884 as the Prince’s Theatre, designed by C. J. Phipps for actor-manager Edgar Bruce as part of a larger, unified scheme embracing the Thistle Hotel (originally Prince's Hotel and Restaurant), and fronting on to Whitcomb Street. In accordance with the overall concept of a coherent group of buildings, the architecture of the Prince's Hotel was extended to embrace the theatre frontage to Coventry Street, curving into Oxenden Street in a simplified form. In 1886 the theatre’s name was changed to the Prince of Wales.
In 1937 the theatre's character changed, when the existing structure, considered old-fashioned, was demolished and a new one built, with a much more capacious auditorium. On 16 January the curtain came down on the final show, Encore les Dames, and on 17 June Gracie Fields laid the foundation stone of the new building, designed by the respected cinema architect Robert Cromie. The 1937 building, revealed to the theatre’s public on 27 October that year with the first performance of Les Folies de Paris et Londres, is far removed from Phipps's archetypal three-tier, cream and gold auditorium, with its Moorish style ancillary rooms and staircases. The steel-framed structure with its artificial stone cladding sits uneasily against the earlier hotel, with the sawn-through junction just a little too ill-mannered. The corner tower, with its long, curving, cantilevered canopy, echoes the original; the open corner drum should be outlined in neon, and it should also have a crowning flagstaff.
Internally, the building is vaguely archaeological: although it is much altered, parts of Cromie’s design can be identified in, for example, the cocktail bar and parts of the American Bar; the most complete survival is the stalls bar, which retains its dance floor and bar counter fashioned in backlit glass blocks. The foyer is relatively plain, with typical Art Deco reeded and recessed lighting channels. In 2003 theatre owners Delfont Mackintosh Theatres initiated an extensive refurbishment programme. The principle changes were to the auditorium and public circulation areas while enhancing the building's external image. The auditorium was partially reconfigured to reintroduce a sense of glamour and provide enhanced actor audience relationships. Externally the intent of Robert Cromie's 1937 design is reinvigorated through redefining his corner tower. Blue lighting accentuates the verticality of the corner, culminating in the new heightened rotunda and light feature.
A joy in this theatre is the many framed posters and photographs. Here are Sweet Charity, 1967, with Juliet Prowse; Harvey, 1975, starring James Stewart as well as the long-running musical Mamma Mia! (2004).
1884. Prince’s Theatre designed by C. J. Phipps for actor-manager Edgar Bruce / 1886. Theatre renamed Prince of Wales / 1937. Old theatre demolished; in June, foundation stone of new theatre laid by Grade Fields; in October, replacement theatre, designed by Robert Cromle, opens / 2003. Major refurbishment by the Arts Team at RHWL. Theatre reopened by Prince Charlies In 2004 / Statutorily Listed Historic Building: Grade II
Superb collection of framed playbills, posters and photographs.
Musical
Original London
1) Book of Mormon (The) (Original London)
Joué durant 6 ans 11 mois 3 semaines actuellement
Première preview: lun. 25 février 2013
Première: jeu. 21 mars 2013
Dernière: Open end
Compositeur: Matt Stone • Robert Lopez • Trey Parker •
Parolier: Matt Stone • Robert Lopez • Trey Parker •
Libettiste: Matt Stone • Robert Lopez • Trey Parker •
Metteur en scène: Casey Nicholaw • Trey Parker •
Chorégraphe: Casey Nicholaw •
Avec: Gavin Creel (Elder Price), Jared Gertner (Elder Cunningham), Mark Anderson, Stephen Ashfield, Benjamin Brook, Daniel Buckley, Daniel Clift, Ashley Day, Terry Doe, Candace Furbert, Patrick George, Nadine Higgin, Tyrone Huntley, Evan James, Chris Jarman, Michael Kent, Alexia Khadime, Matt Krzan, Oliver Liddert, Daniel McKinley, Luke Newton, Terel Nugent, Haydn Oakley, Olivia Phillip, Lucy St. Louis, Giles Terera, Kayi Ushe, Tosh Wanogho-Maud, Liam Wrate
Commentaire:
Presse: Les critiques sont bonnes:
"While acknowledging that it is often damnably clever and sharp, I find it hard to warm to the show...The Book of Mormon strikes me as a decadent and self-indulgent musical, and its mixture of satire and syrup ultimately proves repellent." Charles Spencer for Daily Telegraph
"I absolutely loved it...songs, though not especially memorable, have bounce and bite and colour." Paul Taylor for The Independent
"I’m not sure its crude yet clever package is roll-in-the-aisles funny but it’s deliciously entertaining and there is certainly nothing like it in the West End." Julie Carpenter for The Daily Express
"Its satire is insistently US college-campus adolescent. I tired of it after ten minutes...This is a cowardly, coarse, cynical show, worth avoiding. Quentin Letts for The Daily Mail
" Indecently funny...The music...is generally jaunty and from time to time soars operatically, though only three or four of the tunes are really memorable.
Henry Hitchings for Evening Standard
"A mildly amusing musical, with some knowingly parodic songs, that takes a few pot shots at religious credulity without ever questioning the need for belief. I had a perfectly pleasant time, but the idea that the show, which won nine Tony awards, is either daringly offensive or a Broadway breakthrough is pure codswallop...For all its rude words, this is essentially a safe, conservative show for middle America."
Michael BIllington for The Guardian
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Musical
Original
33) 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
32) Let it be (Original)
Joué durant 3 mois 3 semaines
Première preview: 14 September 2012
Première: 24 September 2012
Dernière: 19 January 2013
Compositeur:
Parolier:
Libettiste:
Metteur en scène: James Curatolo •
Chorégraphe:
Avec:
Commentaire:
Presse: "It simply offers an evening of faithfully executed Beatles hits. This kind of show is normally dubbed a juke-box musical, but I'd call it Tussaud Theatre: it asks us to gaze for a couple of hours on replicas of reality...The whole evening, however, is an exercise in faintly necrophiliac nostalgia...I go to the theatre hoping to be surprised, challenged or given a new perspective on reality. What I don't want is to see the musical, of all forms, turned into a gaudy museum."
Michael Billington for The Guardian
"After two glorious hours I left the show feeling as high as a kite. There is no attempt to shoehorn the Beatles hits into a fictional story, as in Mamma Mia!, nor is it a bio-drama about the Beatles’ rise and bitter break-up. Let It Be is essentially a concert with a brilliant covers band offering a non-stop parade of hits in more or less chronological order from the group’s early songs to tracks from their last recorded album, Abbey Road...the music is almost spookily faithful to the originals...For those who love the Beatles, this show is as about as good as it gets."
Charles Spencer for The Daily Telegraph
"Enjoyable production."
Paul Taylor for The Independent
"If you like Beatles songs, you will be reasonably happy. If you want storytelling or character analysis, you may not...I suppose I shouldn’t be such a brute. The music is well played and the singing is mainly in tune."
Quentin Letts for The Daily Mail
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Musical
Original
31) Mamma Mia! (Original)
Joué durant 8 ans 2 mois 3 semaines
Première preview: 03 June 2004
Première: 09 June 2004
Dernière: 01 September 2012
Fait partie de: Original London Run
Compositeur: Benny Andersson • Björn Ulvaeus •
Parolier: Benny Andersson • Björn Ulvaeus •
Libettiste: Catherine Johnson •
Metteur en scène: Phyllida Lloyd •
Chorégraphe: Anthony Van Laast •
Avec:
Commentaire: Incorporating some two dozen ABBA songs, this had a workable and funny plot-line, inspired by Willy Russell’s “Shirley Valentine” and a Gina Lollobrigida film called “Buona Sera, Mrs Campbell”. Mamma Mia” was camp, fast-moving, great fun and a big hit with the critics and public alike. (It was a Broadway hit in 2001, and in 2008 became a successful film, with Meryl Streep and Pierce Brosnan).
Prince Edward Theatre 6/4/1999 > 29/5/2004
Prince of Wales Theatre 9/6/2004 > 1/9/2012
Novello Theatre 6/9/2012 > ???? (plus)
Presse: NICHOLAS DE JONGH of the EVENING STANDARD says, "Thank you for the music…shame about the musical".
BENEDICT NIGHTINGALE of THE TIMES says, " With so much fun in the theatrical air, the rest of us might as well indulge them."
SHERIDEN MORLEY on TELETEXT really enjoyed the show saying, "After a shaky start, Mamma Mia soars" and goes on to say, "It's a genuinely touching and comic book allied to some of the greatest and most theatrical pop songs ever written."
KATE BASSETT of THE DAILY TELEGRAPH says, "Unfortunately, Johnson's dialogue often sounds like a banal soap opera" and goes onto say, "The cast are clearly having a hoot, almost raising their eyebrows when they have to break into lyrics that are barely relevant."
THE FINANCIAL TIMES says, "You shouldn't take Mamma Mia! seriously: which is precisely why it proves to be one of the few good musicals on the London stage today."
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Parolier: Benny Andersson • Björn Ulvaeus •
Libettiste: Catherine Johnson •
Metteur en scène: Phyllida Lloyd •
Chorégraphe: Anthony Van Laast •
Avec:
Prince Edward Theatre 6/4/1999 > 29/5/2004
Prince of Wales Theatre 9/6/2004 > 1/9/2012
Novello Theatre 6/9/2012 > ???? (plus)
BENEDICT NIGHTINGALE of THE TIMES says, " With so much fun in the theatrical air, the rest of us might as well indulge them."
SHERIDEN MORLEY on TELETEXT really enjoyed the show saying, "After a shaky start, Mamma Mia soars" and goes on to say, "It's a genuinely touching and comic book allied to some of the greatest and most theatrical pop songs ever written."
KATE BASSETT of THE DAILY TELEGRAPH says, "Unfortunately, Johnson's dialogue often sounds like a banal soap opera" and goes onto say, "The cast are clearly having a hoot, almost raising their eyebrows when they have to break into lyrics that are barely relevant."
THE FINANCIAL TIMES says, "You shouldn't take Mamma Mia! seriously: which is precisely why it proves to be one of the few good musicals on the London stage today."
Musical
Original
30) Cliff - the musical (Original)
Joué durant 1 mois 3 semaines
Première preview: 12 March 2003
Première: 13 March 2003
Dernière: 10 May 2003
Compositeur:
Parolier:
Libettiste: Mike Read • Trevor Payne •
Metteur en scène: Trevor Payne •
Chorégraphe: Simon Shelton •
Avec: Mike Read (Lord Cliff), Gordon Kenney (Bruce Welch), Ricky Aron (Cliff I), Miles Guerinni (Cliff 2), Jimmy Jemain (Cliff 3), Zillah Eagles, Sheri Copeland
Commentaire: This was a bit of a jaw-droppingly pointless show - after all, there was no story - Sir Cliff had never trashed a hotel room, seduced an underage teenager, had a breakdown, or even got drunk - but it did have a superb band and an army of middle-aged matrons cheering every song. The critics were all happy to report that Sir Cliff himself was out of the country touring the Far East with his live show, and all expressed the hope this dreadful show would fold before he got back and would thus spare him the misery of having to watch it. It managed a 9 week run. (plus)
Presse:
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Musical
Revival
29) Rent (Revival)
Joué durant 3 mois
Première preview: 05 December 2002
Première: 05 December 2002
Dernière: 08 March 2003
Compositeur: Jonathan Larson •
Parolier: Jonathan Larson •
Libettiste: Jonathan Larson •
Metteur en scène: Michael Greif •
Chorégraphe: Marlies Yearby •
Avec: Dougal Irvine (Mark Cohen), Damien Flood (Roger), Debbie Kurup (Mimi), Mig Aseya (Angel), Mykal Rand (Tom), Caprice (Maureen), Wendy Mae Brown (Joanne)
Commentaire: This was the same production that had played the Prince of Wales exactly a year earlier, playing an 8 week limited run prior to a UK tour. Because of the early closure of “The Full Monty” the Prince of Wales was empty and at the same time the “Rent” tour was off the road because most provincial theatres were playing pantomime. It made sense for “Rent” to return for a 14 week season. There had been some cast changes over the past year. (plus)
Presse:
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Musical
Original London
28) Full Monty (The) (Original London)
Joué durant 8 mois 2 semaines
Nb de représentations: 295 représentations
Première preview: 27 February 2002
Première: 12 March 2002
Dernière: 23 November 2002
Compositeur: David Yazbek •
Parolier: David Yazbek •
Libettiste: Terrence McNally •
Metteur en scène: Jack O'Brien •
Chorégraphe: Jerry Mitchell •
Avec: Gina Murray (Geòrgie), John Ellison Conlee (Dave), Julie-Alanah Brighten (Pam), Jarrod Emick (Jerry), Jason Damieley (Malcolm), Tricia Deighton (Molly), Marcus Neville (Harold), Rebecca Thornhill (Vicki), André De Shields (Noah), Romain Frugé (Ethan), Dora Bryan (Jeanette)
Commentaire: “The Full Monty” started life as a 1997 British film, directed by Peter Cattaneo. Set in Sheffield it was a non-musical comedy which managed to deal seriously with subjects like unemployment, father’s rights, depression, impotence, homosexuality, working-class culture and suicide. The musical version changed the setting to Buffalo, New York, but stayed very close to the film, changing some names and introducing a few new characters.
The musical opened on Broadway in October 2000 and ran for 769 performances. The London cast included six of the original Broadway cast members and received excellent notices. Dora Bryan was replaced after 12 weeks (due to “filming commitments”) by Lynda Baron, and after the agreed six months, the American leads were replaced with David Ganly (Dave), Cornell John (Noah), Ben Richards (Jerry), Paul Keating (Ethan), Samuel James (Malcolm) and Tony Timberlake (Harold). It ran for 9 months. (plus)
Presse:
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Musical
Revival
27) Rent (Revival)
Joué durant 1 mois 3 semaines
Première preview: 04 December 2001
Première: 04 December 2001
Dernière: 26 January 2002
Compositeur: Jonathan Larson •
Parolier: Jonathan Larson •
Libettiste: Jonathan Larson •
Metteur en scène: Michael Greif •
Chorégraphe: Marlies Yearby •
Avec: Adam Rickitt (Mark Cohen), Damien Flood (Roger), Debbie Kurup (Mimi), Neil Couperthwaite (Angel), Mykal Rand (Tom), Helen York (Maureen), Wendy Mae Brown (Joanne), Jason Pennycooke, Jane Doyle, Gilz Terera, Tracy Kashi, Delroy Atkinson, Tom Kavanan, Zeph, Yildiz Hussein.
Commentaire: This was a production from the Leicester Haymarket which was playing an eight week West End engagement prior to a UK tour. (plus)
Presse: NICHOLAS DE JONGH for the EVENING STANDARD says, “I am still hooked by the high, sad romance of Rent. This famous, mid-Nineties American musical that makes a song and dance affair of Aids and drug addiction… has not lost its pulling-power. He goes on to say, “Rent, despite some escapist, pretentious and absurd elements, speaks convincingly to and about young American outsiders.”
LYN GARDNER for THE GUARDIAN says , “The plot is so underdeveloped, and relationships so scanty “ And goes on to say, “In some ways the old-fashioned, fake-smiles posturing of shows such as Kiss Me Kate seems more honest than this emotionally manipulative and undistinguished evening.”
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Musical
Revival
26) Witches of Eastwick (The) (Revival)
Joué durant 7 mois 1 semaine
Nb de représentations: 251 représentations
Première preview: 23 March 2001
Première: 23 March 2001
Dernière: 27 October 2001
Compositeur: Dana P. Rowe •
Parolier: John Dempsey •
Libettiste: John Dempsey •
Metteur en scène: Eric Schaeffer •
Chorégraphe: Bob Avian • Stephen Mear •
Avec: Ian McShane (Daryll Van Horne), Lucie Arnaz (Alexandra Spofford), Joanna Riding (Jane Smart), Maria Friedman (Sukie Rougemont), Rosemary Ashe (Felicia Gabriel), Stephen Tate (Clyde Gabriel), Caroline Sheen (Jennifer Gabriel), Peter Jöback (Michael Spofford), Gee Williams (Fidel), Sarah Lark (Little Girl), Jasna Ivir (Gina Marino), Tim Walton (Joe Marino), Anne Marie McCormack (Gretta Neff), Kevin Wainwright (Raymond Neff), Lisa Peace (Marge Persley), Shaun Henson (Homer Persley), Earl Carpenter (Reverend Ed Parsley), Kathryn Akin (Brenda Parsley), Jocelyn Hawkyard (Rebecca Barnes), Nick Searle (Toby Bergman), Valda Aviks (Eudora Bryce), Matt Dempsey (Curtis Hallerbread), Scarlett Strallen (Mavis Jessup), Julia Sutton (Franny Lovecraft), Chris Holland (Frank Ogden), Alison Forbes (Mabel Ogden), Maurice Lane (Dr Henry Pattison), Jean McGlynn (Marcy Wills)
Earl Carpenter replaced Ian McShane as Daryll Van Horne on March 23, 2001 / Clarke Peters replaced Earl Carpenter as Daryll Van Horne on July 1, 2001 / Josefina Gabriel replaced Lucy Arnaz as Alexandra Spofford on July 1, 2001 / Rebecca Thornhill replaced Maria Friedman as Sukie Rougemont on July 1, 2001 / Paul Spicer replaced Peter Jobak as Michael Spofford on July 1, 2001 / Elizabeth Yeats replaced Jasna Ivir as Gina Marino on July 1, 2001 / Christopher Howell replaced Kevin Wainwright as Raymond Neff on July 1, 2001 / Amanda Villamayor replaced Kathryn Akin as Brenda Parsley on July 1, 2001
Commentaire: Based on John Updike’s novel and the film version starring Jack Nicholson, the musical version initially earned mostly positive reviews, but failed to fill the vast Drury Lane auditorium. After seven months it was replaced with a scaled-down version and moved to the more intimate Prince of Wales Theatre. A number of scenes were re-written and the song “Who's the Man?1” was replaced with a rousing gospel number, “The Glory of Me”. At the same time Ian McShane left and was replaced by his understudy, Earl Carpenter. At the end of its first year a general cast change saw Clarke Peters take over as Darryl van Home and Josefina Gabrielle and Rebecca Thornhill replaced Lucie Arnaz and Maria Friedman. On Oct 27th, 2001 the show closed after a 15 month run. There had been a disastrous drop in ticket sales, attributed to a downturn in tourism following the September 11th Twin-Towers attack in New York. (plus)
Presse: Most of the popular press like the new version better than the original... BENEDICT NIGHTINGALE for THE TIMES says, “The show has been somewhat rejigged…… I thought the music was still bright and brisk, if not acerbic or inventive enough, the lyrics remained above-average, and the repartee funnier than I recalled.”
CHARLES SPENCER for THE DAILY TELEGRAPH says, “Now it has transferred to the smaller Prince of Wales, McShane has been replaced by the great Clarke Peters, and The Witches of Eastwick looks like a brimmingly confident smash hit.” THE DAILY MAIL says, “Did I enjoy it more this time round? Well, yes, actually. Not a lot, but a bit. “
THE EVENING STANDARD says, "This comic operetta has been given a shot in the erogenous zones through its casting of Clarke Peters as the devilish seducer....Eric Schaeffer’s production bustles with ardent singing, dancing brio and broad humour."
SHERIDAN MORLEY for TELETEXT says, "It still looks, a year on, like work in progress and that is what gives it such fascination: in here somewhere are about five quite different musicals."
ROBERT HEWISON for THE SUNDAY TIMES says, "Josefina Gabrielle, Joanna Riding and Rebecca Thornhill are warm and sexy." He goes on to say, Clarke Peters is "entertaining", but "what had been a musical comedy has become a comedy musical".
RHODA KOENIG for THE INDEPENDENT was not too impressed saying, “After his promising entrance, Peters turns out to be about as sexy and subversive as Burt Reynolds trying to embarrass a female guest on a chat show.”
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Musical
Original London
25) Fosse, the musical (Original London)
Joué durant 11 mois 1 semaine
Nb de représentations: 383 représentations
Première preview: 26 January 2000
Première: 08 February 2000
Dernière: 13 January 2001
Compositeur: *** Divers •
Parolier: Aucun •
Libettiste:
Metteur en scène: Richard Jr Maltby • Ann Reinking •
Chorégraphe: Ann Reinking • Chet Walker •
Avec: Nicola Hughes, Daniel Crossley, Simon Archer, Darren Gibson, Jacqui Jameson, Jill-Louise Hydes, Jacqui Boatswain
Commentaire:
Presse:
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Musical
Revival
24) West Side Story (Revival)
Joué durant 11 mois 3 semaines
Nb de représentations: 403 représentations
Première preview: 22 January 1999
Première: 22 January 1999
Dernière: 08 January 2000
Fait partie de: London Run 3
Compositeur: Leonard Bernstein •
Parolier: Stephen Sondheim •
Libettiste: Arthur Laurents •
Metteur en scène: Alan Johnson •
Chorégraphe: Alan Johnson •
Avec: Celia Graham (Maria), Paul Manuel (Tony), Anna-Jane Casey (Anita), Edward Baker Duly (Riff), Graham MacDuff (Bernardo)
Commentaire: This touring production was as near as possible a complete re-creation of the original version from 40 years earlier - with some added significance in that Jerome Robbins had died a few months prior to its revival. Several critics felt the magnificent show had a whiff of mothballs about it, and needed a completely new approach (like the current “Oklahoma” at the National Theatre.) The “dream ballet” was especially felt to be very dated, and the finger-clicking routines seemed over-choreographed and lacking spontaneity for today’s audiences.) However, others felt it held up extremely well and everyone agreed it remained one of the most brilliant scores in musical theatre. It ran for fifteen weeks at the Prince Edward and then transferred to the Prince of Wales for another year, closing January 8th 2000.
Prince Edward Theatre: 6/10/1998 - 16/1/1999
Prince of Wales Theatre: 22/1/1999 - 8/1/2000 (plus)
Presse:
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Parolier: Stephen Sondheim •
Libettiste: Arthur Laurents •
Metteur en scène: Alan Johnson •
Chorégraphe: Alan Johnson •
Avec: Celia Graham (Maria), Paul Manuel (Tony), Anna-Jane Casey (Anita), Edward Baker Duly (Riff), Graham MacDuff (Bernardo)
Prince Edward Theatre: 6/10/1998 - 16/1/1999
Prince of Wales Theatre: 22/1/1999 - 8/1/2000 (plus)
Musical
Revival
23) Fame (Revival)
Joué durant 3 mois
Nb de représentations: 124 représentations
Première preview: 15 October 1998
Première: 15 October 1998
Dernière: 16 January 1999
Compositeur: Steve Margoshes •
Parolier: Jacques Levy •
Libettiste: Jose Fernandez •
Metteur en scène: Runar Borge •
Chorégraphe: Lars Bethke •
Avec: Adrian Hansel (Tyrone), Ruby-Marie Hutchinson (Mabel), Kimberley Partridge (Serena), Andrew Langtree (Nick), Loraine Velez (Carmen), Rebecca Reaney (Iris), Paul Lyons, Tom Newman, Nina French, James Earl Adair, Michelle Dixon, Michael Bell, Zoe Tyler
Commentaire:
Presse:
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Musical
Original London
22) Smokey Joe's Café (Original London)
Joué durant 1 an 11 mois 2 semaines
Nb de représentations: 813 représentations
Première preview: 15 October 1996
Première: 23 October 1996
Dernière: 03 October 1998
Compositeur: Jerry Leiber • Mike Stoller •
Parolier: Jerry Leiber • Mike Stoller •
Libettiste: *** Revue •
Metteur en scène: Jerry Zaks •
Chorégraphe: Joey McKneely •
Avec: Victor Trent Cook, BJ Cosby, DeLee Lively, Deb Lyons, Stephanie Pope, Devin Richards, Robert Torti, Alton White and Harrison White.
Commentaire: A straightforward compilation show of 39 numbers sung and danced by a cast of six black and three white performers, and a seven-piece band. There was no attempt to tell a story or create a plot – just two hours devoted to the music of Leiber & Stoller. A huge hit on Broadway, it was also highly praised when the all-American cast transferred to the West End, and managed a run of nearly two years. The highlight of the show was DeLee Lively in the number “Teach Me How to Shimmy” (plus)
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Musical
Revival
21) Elvis, the musical (Revival)
Joué durant 5 mois 2 semaines
Nb de représentations: 192 représentations
Première preview: 26 March 1996
Première: 15 April 1996
Dernière: 28 September 1996
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: Jack Good • Ray Cooney •
Metteur en scène: Carole Todd • Keith Strachan •
Chorégraphe: Carole Todd •
Avec: Alexander Bar (Young Elvis), Timothy Whitnall (Middle Elvis), P.J.Proby (Older Elvis), Shelley Bond, Eddie Burton, Jonell Elliott, Bob Golding, Anna Kumble, Lottie Mayor, James Pearson, Kevin Rooney
Commentaire: This revival achieved a run of 24 weeks (plus)
Presse:
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Musical
Original London
20) Copacabana (Original London)
Joué durant 1 an 2 mois 2 semaines
Nb de représentations: 525 représentations
Première preview: 23 June 1994
Première: 23 June 1994
Dernière: 09 September 1995
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Divers •
Metteur en scène: Roger Redfarn •
Chorégraphe: Dorian Sanchez •
Avec: Gary Wilmot (Tony/Stephen), Nicola Dawn (Lola), Richard Lyndon (Rico), Anna Nicholas (Conchita), Howard Attfield (Sam), Jenny Logan (Gladys), Duncan Smith (McManus)
Commentaire: 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). (plus)
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Musical
UK Revival
19) Aspects of Love (UK Revival)
Joué durant 3 semaines
Nb de représentations: 32 représentations
Première preview: Inconnu
Première: 20 December 1993
Dernière: 15 January 1994
Compositeur: Andrew Lloyd Webber •
Parolier: Charles Hart • Don Black •
Libettiste: Andrew Lloyd Webber • Charles Hart • Don Black •
Metteur en scène: Gale Edwards •
Chorégraphe: Jo Anne Robinson •
Avec: Alexander Hanson (Alex Dillingham), Kathryn Evans (Rose Vibert), Gary Bond (George Dillingham), Karen Skinns (Giulietta) Paul Bentley, Lottie Mayor, Helen Viner-Slater, Angela Lloyd, James Buller
Commentaire: This production was re-created from the Australian production and came back into the West End as part of its UK tour. It was presented in a much smaller version which generally was welcomed, with several critics claiming the original London production had been dwarfed by massive scenery and overblown production. (plus)
Presse:
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Musical
Original London
18) City of Angel (Original London)
Joué durant 7 mois 3 semaines
Nb de représentations: 255 représentations
Première preview: 30 March 1993
Première: 30 March 1993
Dernière: 18 November 1993
Compositeur: Cy Coleman •
Parolier: David Zippel •
Libettiste: Larry Gelbart •
Metteur en scène: Michael Blakemore •
Chorégraphe: Walter Painter •
Avec: Martin Smith (Stein), Roger Allam (Stone), Haydn Gwynne (Oolie/Donna), Henry Goodman (Buddy Fidler), Susannah Fellows, David Schofield, Matt Zimmerman, Andrew Halliday
Commentaire: The award-winning Broadway production opened in November 1989 and ran for 878 performances. This London version, in spite of winning several awards and being hailed by the critics, failed to catch on with the general public, who found the whole thing “too complicated”. It closed under eight months with losses estimated at £2.5 million. (plus)
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Musical
Revival
17) Annie get your gun (Revival)
Joué durant 1 mois 2 semaines
Nb de représentations: 53 représentations
Première preview: Inconnu
Première: 25 November 1992
Dernière: 10 January 1993
Compositeur: Irving Berlin •
Parolier: Irving Berlin •
Libettiste: Dorothy Fields • Herbert Fields •
Metteur en scène: Roger Redfarn •
Chorégraphe: Gillian Gregory •
Avec: Kim Criswell (Annie Oakley), John Diedrich (Frank Butler), Leon Greene (Buffalo Bill), Brian Glover (Chief Sitting Bull), Norman Rossington (Charlie Davenport), Meg Johnson (Dolly Tate), Veronica Hart, Alison Pollard
Commentaire: This production originated at the Theatre Royal, Plymouth (plus)
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Musical
Original
16) Good Rockin' Tonite (Original)
Joué durant 3 mois 3 semaines
Première preview: Inconnu
Première: 21 July 1992
Dernière: 14 November 1992
Fait partie de: London Run
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: Jack Good •
Metteur en scène: Jack Good • Ian Kellgren •
Chorégraphe: Henry Metcalf •
Avec: Philip Baird (Jack Good), Anna Juliana Claire (Mrs Good), Anne Smith (Connie Francis), David Howarth (Tommy Steele/Larry Parnes), Michael Dimitri (Gene Vincent), Tim Whitnall (Cliff Richard), Gavin Stanley (Billy Fury), Marcus D’Cruze (Ritchie Valens), James Compton (BBC Head)
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Parolier: *** Divers •
Libettiste: Jack Good •
Metteur en scène: Jack Good • Ian Kellgren •
Chorégraphe: Henry Metcalf •
Avec: Philip Baird (Jack Good), Anna Juliana Claire (Mrs Good), Anne Smith (Connie Francis), David Howarth (Tommy Steele/Larry Parnes), Michael Dimitri (Gene Vincent), Tim Whitnall (Cliff Richard), Gavin Stanley (Billy Fury), Marcus D’Cruze (Ritchie Valens), James Compton (BBC Head)
Musical
Original
15) Aspects of Love (Original)
Joué durant 3 ans 2 mois
Nb de représentations: 1325 représentations
Première preview: Inconnu
Première: 17 April 1989
Dernière: 20 June 1992
Compositeur: Andrew Lloyd Webber •
Parolier: Charles Hart • Don Black •
Libettiste: Andrew Lloyd Webber • Charles Hart • Don Black •
Metteur en scène: Trevor Nunn •
Chorégraphe: Gillian Lynne •
Avec: Michael Ball (Alex Dillingham), Ann Crumb (Rose Vibert), Kevin Colson {George Dillingham), Kathleen Rowe McAllen (Giulietta), Paul Bentley, Laurel Ford, David Greer
Commentaire: Originally the part of Uncle George Dillingham was to be played by Roger Moore. He asked to be released during rehearsals, frankly admitting that he was not able to sing well enough, and was replaced by the Australian, Kevin Colson. The show received a largely polite reception from the London critics, and thanks to its £2 million ticket sales advance ran for over 3 years. An arrangement was made with American Equity whereby the entire British cast were allowed to perform the show on Broadway (April 8th 1990) where it ran for 377 performances, in spite of receiving savage reviews like “an endless stream of clichés and predictable rythmns”. However, it lost several million dollars in the Broadway production. Amongst London cast replacements were Michael Praed, Clare Burt, Sarah Brightman , Barrie Ingham, Simon Masterman-Smith, Grania Renihan, Helen Hobson and David Malek. (plus)
Presse: "...a lyrical, heart-breakingly romantic chamber piece..... " Herald Tribune / "... a vibrantly intelligent and commanding performance by American Ann Crumb... A perfectly delightful performance from Diana Morrison... the daring shown here tonight deserves to win our admiration…" Daily Mail / " ...a remarkably daring piece of work…" Financial Times / " ....the musical texture becomes lively and varied and the stage starts to flood with real emotion... (Trevor Nunn) .... creates both images of rapturous gaiety ... and moments of desolating sadness... Mr Lloyd Webber shows a capacity to reach emotions that other composers do not touch." Guardian
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Musical
Revival
14) South Pacific (Revival)
Joué durant 12 mois
Première preview: 20 January 1988
Première: 20 January 1988
Dernière: 14 January 1989
Compositeur: Richard Rodgers •
Parolier: Oscar Hammerstein II •
Libettiste: Joshua Logan • Oscar Hammerstein II •
Metteur en scène: Roger Redfarn •
Chorégraphe:
Avec: Gemma Craven (Nellie Forbush), Emile Belcourt (Emile),
Andrew C. Wadsworth (Lt. Cable), Bertice Reading (Bloody Mary)
Johnny Wade (Luther), Steve O’Hara (Sgt Johnson), Pamela Yang (Liat).
Commentaire: This production originated at the Theatre Royal, Plymouth (plus)
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Musical
Return Engagement
13) Seven Brides for Seven Brothers (Return Engagement)
Joué durant 5 mois 2 semaines
Nb de représentations: 196 représentations
Première preview: Inconnu
Première: 08 May 1986
Dernière: 25 October 1986
Compositeur: Al Kasha • Gene de Paul • Joel Hirschhorn •
Parolier: Al Kasha • Joel Hirschhorn • Johnny Mercer •
Libettiste: David Landay • Lawrence Kasha •
Metteur en scène: Michael Winter •
Chorégraphe: Stephanie Carter •
Avec: Steve Devereaux (Adam), Roni Page (Milly) , Geoff Steer, Andrew Grainger, Simon Howe, Mark Davis, Martyn Knight, Peter Bishop, Julie E. Homer, Debra Robinson, Victoria Lynson, Michaela Strachan, Jacey Collins, Jackie Crawford.
Commentaire: This was the same production which had played the Old Vic a year earlier and had since been on tour. (plus)
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Musical
West End Transfer
12) Guys and Dolls (West End Transfer)
Joué durant 10 mois 1 semaine
Première preview: Inconnu
Première: 19 June 1985
Dernière: 26 April 1986
Compositeur: Frank Loesser •
Parolier: Frank Loesser •
Libettiste: Abe Burrows • Jo Swerling •
Metteur en scène: Richard Eyre •
Chorégraphe: David Toguri •
Avec: Andrew C. Wadsworth (Sky Masterton), Lulu (Miss Adelaide), Norman Rossington (Nathan Detroit), Janet Dibley (Sarah Browne), Thick Wilson (Nicely-Nicely), Kevin Walsh (Benny), Gareth Snook, Andrew Robertson, Lucy Fenwick
Commentaire: Transfer from NT Olivier Theatre 12 April 1984 to 15 September 1984 (plus)
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Musical
Revival
11) Little Me (Revival)
Joué durant 10 ans 12 mois
Nb de représentations: 334 représentations
Première preview: Inconnu
Première: 30 May 1984
Dernière: 25 May 1995
Compositeur: Cy Coleman •
Parolier: Carolyn Leigh •
Libettiste: Neil Simon •
Metteur en scène: Val May •
Chorégraphe: Bob Fosse •
Avec: Russ Abbot, Eileen Gourlay (Young Belle), Sheila White (Older Belle), Tudor Davies
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Musical
Revival
10) Hello, Dolly! (Revival)
Joué durant 3 mois 3 semaines
Nb de représentations: 134 représentations
Première preview: Inconnu
Première: 03 January 1984
Dernière: 27 April 1984
Compositeur: Jerry Herman •
Parolier: Jerry Herman •
Libettiste: Michael Stewart •
Metteur en scène: Peter Coe •
Chorégraphe:
Avec: Danny la Rue (Dolly Levi), Lionel Jeffries (Horace Vandergelder), Lorna Dallas (Irene Molloy), Michael Sadler (Cornelius Hackl),
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Musical
Reprise
9) Mikado (The) (Reprise)
Joué durant 1 mois 1 semaine
Première preview: Inconnu
Première: 16 August 1983
Dernière: 24 September 1983
Compositeur: Arthur Sullivan •
Parolier: W.S. Gilbert •
Libettiste: W.S. Gilbert •
Metteur en scène: Chris Hayes •
Chorégraphe: Michele Hardy •
Avec: Jimmy Thompson (Ko-Ko), Nicholas Smith (Mikado), Gary Lyons (Nanki Poo), John Hewer (Pooh-Bah), Stella Goodier (Yum Yum), Eileen Gourlay (Katisha), Christopher Marlowe
Commentaire: This was a return visit from the same production which had played the Cambridge Theatre the previous year and had been touring meantime. (plus)
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Musical
Original
8) Underneath the Arches (Original)
Joué durant 1 an 2 mois 3 semaines
Première preview: Inconnu
Première: 04 March 1982
Dernière: 28 May 1983
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Divers •
Metteur en scène: Roger Redfarn •
Chorégraphe: Tudor Davies •
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)
Commentaire: The production originated at the Chichester Festival Theatre. (plus)
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Musical
Original London
7) On the Town (Original London)
Joué durant
Nb de représentations: 63 représentations
Première preview: 30 May 1963
Première: 30 May 1963
Dernière: Inconnu
Compositeur: Leonard Bernstein •
Parolier: Adolph Green • Betty Comden •
Libettiste: Adolph Green • Betty Comden •
Metteur en scène: Joe Layton •
Chorégraphe: Joe Layton •
Avec:
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Musical
Original London
6) Funny Face (Original London)
Joué durant 7 mois 3 semaines
Nb de représentations: 263 représentations
Première preview: Inconnu
Première: 08 November 1928
Dernière: 29 June 1929
Compositeur: George Gershwin •
Parolier: Ira Gershwin •
Libettiste: Fred Thompson • Paul Gerard Smith •
Metteur en scène: Felix Edwardes •
Chorégraphe:
Avec: Cast: Fred Astaire (Jimmie Reeve), Adele Astaire (Frankie Wynne), Leslie Henson (Dugsie Gibbs), Sydney I Ioward (Herbert), Bernard Clifton (Peter Thurston), Rita Page (Dore Wynne), Eileen Hatton (June Wynne)
Commentaire: Deux lieux:
Prince's Theatre 8/11/1928 - 26/1/1929
Winter Garden Theatre 28/1/1929 - 29/6/1929 (plus)
Presse: Although many in the audience had come to see the Astaires, Leslie Henson’s “clowning was really of more moment in a triumphant first night” (Sat Review)
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Théâtre
5) Paul Among the Jews ()
Joué durant
Nb de représentations: 2 représentations
Première preview: Inconnu
Première: 08 July 1928
Dernière: 09 July 1928
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Divers •
Metteur en scène:
Chorégraphe:
Avec: Laurence Olivier (Chanan)
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Revue
Original
4) Co-Optimists (The) of 1923 (Original)
Joué durant 5 mois 1 semaine
Nb de représentations: 210 représentations
Première preview: 11 October 1923
Première: 11 October 1923
Dernière: 22 March 1924
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Revue •
Metteur en scène:
Chorégraphe:
Avec: Austin Melford, Wolseley Charles, Stanley Holloway, Gilbert Childs, Davy Burnaby, Melville [J.] Gideon. Betty Chester, Elsa Macfarlane/ Doris Bentley, Phyllis Monkman, Babs Valerie.
Commentaire: ² (plus)
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Revue
Original
3) Co-Optimists (The) of 1922 (Original)
Joué durant 5 mois 3 semaines
Nb de représentations: 232 représentations
Première preview: 12 October 1922
Première: 12 October 1922
Dernière: 07 April 1923
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Revue •
Metteur en scène:
Chorégraphe:
Avec: Stanley Holloway, Laddie Cliff, Melville [J.] Gideon, Gilbert Childs, Davy Burnaby, H. B. Hedley. Betty Chester, Elsa Macfarlane, Phyllis Monkman, Babs Valerie.
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Opérette
Original London
2) Gipsy Princess (The) (Original London)
Joué durant 6 mois 1 semaine
Nb de représentations: 220 représentations
Première preview: 26 May 1921
Première: 26 May 1921
Dernière: 03 December 1921
Compositeur: Emmerich Kalman •
Parolier: Bela Jenbach • Leo Stein •
Libettiste: Bela Jenbach • Leo Stein •
Metteur en scène: William J. Wilson •
Chorégraphe:
Avec: Sari Petras (Silva Varescu), M. de Jari (Prince Ronald), Mark Lester (Count Feri), Billy Leonard (Lord Boniface), Phyllis Titmus (Countess Stasi), Leonard Mackay (Prince Leopold), Lindsey Gray (Princess Anita)
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