Le monde des musicals

Version 1

101 Dalmatians (2020-05-Open Air Theatre, Regent's Park-London)

Type de série: Original
Théâtre: Open Air Theatre, Regent's Park (Londres - Angleterre)
Durée : 1 mois
Nombre :
Première Preview : Saturday 16 May 2020
Première : Saturday 16 May 2020
Dernière : Sunday 21 June 2020
Mise en scène : Timothy Sheader •
Chorégraphie : Liam Steel •
Producteur :

Version 2

Big Fish (2017-11-The Other Palace Main-London)

Type de série: Original
Théâtre: The Other Palace (Londres - Angleterre)
Salle : Main Theatre
Durée : 1 mois 3 semaines
Nombre :
Première Preview : Wednesday 01 November 2017
Première : Wednesday 08 November 2017
Dernière : Sunday 31 December 2017
Mise en scène : Nigel Harman •
Chorégraphie : Liam Steel •
Producteur :
Avec : Kelsey Grammer (Edward Bloom), Matt Seadon-Young (Will Bloom), Frances McNamee (Josephine Bloom), Forbes Masson (Amos/Don), Jamie Muscato (Edward), Laura Baldwin (Sandra), Landi Oshinowo (Witch/Jenny Hill), Dean Nolan (Karl), George Ure (Zaki), Sophie Linder-Lee, Gemma McMeel, Jonathan Stewart

Version 3

Imagine this (2008-11-New London-London)

Type de série: Original
Théâtre: Gillian Lynne Theatre (Londres - Angleterre)
Flop
Durée : 1 mois
Nombre : 37 représentations
Première Preview : Tuesday 04 November 2008
Première : Wednesday 19 November 2008
Dernière : Saturday 20 December 2008
Mise en scène : Timothy Sheader •
Chorégraphie : Liam Steel •
Producteur :
Avec : Peter Polycarpou (Daniel Warshowsky), Leila Benn-Harris (Rebecca), Simon Gleeson (Adam), Bernard Lloyd (Adolph) , Richard Cotton (Blick), Michael Matus (Izzy), Gary Milner (Otto), Steven Serlin (Jan), Sevan Stephan (Max), Sarah Ingram (Sarah), Cameron Leigh (Lola), Rachael Archer, Marc Antolin, Stuart Boother, Emily Jane Boyle, Oliver Brenin, Michael Camp, Joel Elferink, Bob Harms, Paul Iveson, Roy Litvin, Aoife Nally, Grant Neal, Darragh O'Leary, Vincent Pirillo, Philippa Stefani, Rebecca Sutherland, Carrie Sutton, Gemma Sutton, Lucy Thatcher, Michael Watson
Commentaires : The Israeli composer Shuki Levy’s original idea was a show about the siege at Masada in 73AD. His collaborator, TV writer Glenn Berenbeim, suggested instead a play-within-a-play set inside the Warsaw Ghetto. The end result proved very controversial. The Warsaw Ghetto where 360,000 Jews were sealed off and subjected to starvation, disease and ultimate death was itself not an ideal setting for a musical. For some, telling a Holocaust story by means of “offensively banal, soft-pop music that limps in train with . . .trivial lyrics” (Evening Standard) seemed in the worst possible taste. The show was accused of “bumming a ride on the Holocaust”, endowing second-rate art with an air of moral significance. But for others, it was a brave and sincere attempt at “serious” musical theatre, with a magnificent central performance from Peter Polycarpou, some impressive songs and a highly effective and moving way of keeping alive the message of the Holocaust. The show tried out in Plymouth in July 2007, and finally opened in the West End on November 19 th , following 15 previews from November 4 th . As a result of some very damning reviews, it closed on December 20th, after just one month.
Presse : MICHAEL BILLINGTON for THE GUARDIAN says, "They said it couldn't be done: a musical about the Warsaw ghetto. And, now that I've seen it, I know that they were right...I don't doubt the good intentions of all concerned, but the talent is simply not up to the task."
BENEDICT NIGHTINGALE for THE TIMES says, "Last night Glenn Berenbeim’s book began by making me feel my imagination might take fire, only to douse it with the sort of formulaic nonsense it has resisted a zillion times before." The lyricist, David Goldsmith, may have the chutzpah to rhyme nature with nomenclature, but he can be pretty slushy too. Similarly, Shuki Levy’s score can handle the sad or upbeat...But it never has the minor-key harshness the situation demands."
DAVID BENEDICT for VARIETY says, "For all the good intentions, tension barely surfaces all night. The problem is not just that almost everyone knows the ultimate ending but that the schematic and predictable writing barely elicits a single surprise...Writing problems extend to the score. Even though one character sings ironically of 'a penchant for schmaltz,' David Goldsmith's lyrics are largely free of it. But, like the music by Israeli composer Shuki Levy, they lack the spark of individuality."
NICHOLAS DE JONGH for THE EVENING STANDARD says, "Offensively banal, soft-pop music that limps in train with the fatuities and ineptitude of David Goldsmith’s trivial lyrics...the music and songs of Imagine This never do justice to its terrifying theme."
CHARLES SPENCER for THE DAILY TELEGRAPH says, "The production values, though far from extravagant, are effective enough, and though there are no star names, the performances are impressive...Imagine This must finally be judged a manipulative and morally dubious show."

Version 4

Into the woods (2010-08-Open Air Theatre-Regent's Park-London)

Type de série: Revival
Théâtre: Open Air Theatre, Regent's Park (Londres - Angleterre)
Durée : 3 semaines
Nombre :
Première Preview : Thursday 05 August 2010
Première : Monday 16 August 2010
Dernière : Saturday 11 September 2010
Mise en scène : Timothy Sheader • Liam Steel •
Chorégraphie : Liam Steel •
Producteur :
Avec : Hannah Waddingham (Witch), Ben Stott (Jack), Marilyn Cutts (Jack’s Mother), Mark Hadfield (Baker), Jenna Russell (Baker’s Wife), Helen Dallimore (Cinderella), Beverly Rudd (Red Riding Hood), Billy Boyle (Mysterious Man) Alice Fearn (Rapunzel) Michael Xavier (Cinderella’s Prince/Wolf), Simon Thomas (Rapunzel’s Prince), Amy Griffiths (Lucinda), Ethan Beer/Eddie Manning/Joshua Swinney (Narrator), Amy Ellen Richardson (Florinda).
Giant’s voice pre-recorded by Judi Dench
Commentaires : This was framed around the idea that the first narrator is a troubled child, fleeing a parental quarrel. Sitting on the edge of a forest he conjures up a jumbled fairy-tale, and then falls asleep in his sleeping bag to experience a nightmare which is the show itself. The show attracted great praise, with many critics commenting on how well the show suited an open-air venue. It won the Olivier Award for the Best Musical Revival. It was later announced that the production would be re-created in the Open Air Theatre in New York’s Central Park during July and August 2012.
Presse : "Dazzling revival." Michael Billington for The Guardian

"Sharp, spirited revival." Paul Taylor for The Independent

"Timothy Sheader’s interpretation, while stylish and good-looking, suffers from a mixture of stridency, undercooked comedy and patchy singing...This is a show that oscillates between excellence and mediocrity." Henry Hitchings for The Evening Standard

"An inventive, witty production." Sarah Hemming for The Financial Times

"At three hours this often repetitive show would also benefit from cuts...For all its faults, the strength of the company, Sheader’s witty direction and, above all, the spectacularly-lit woodland location, ensure that this fairy-tale musical casts a pretty potent spell." Charles Spencer for The Daily Telegraph

"The most satisfying and revelatory version of this show I’ve seen since Richard Jones’ brilliant London staging in 1990." Mark Shenton for The Stage

Version 5

Peter Pan (2015-05-Open Air Theatre, Regent s Park-London)

Type de série:
Théâtre: Open Air Theatre, Regent's Park (Londres - Angleterre)
Durée : 1 mois
Nombre :
Première Preview : Friday 15 May 2015
Première : Friday 15 May 2015
Dernière : Sunday 14 June 2015
Mise en scène : Timothy Sheader • Liam Steel •
Chorégraphie :
Producteur :
Avec : Hiran Abeysekera (Peter Pan), David Birrell (Captain Hook), Beverly Rudd (Smee), George Bukhari (Nibs), Kae Alexander (Wendy), Patrick Osborne (John), Thomas Dennis (Michael), Rachel Donovan (Tinker Bell), Eben Figueiredo (Tootles), Thomas Pickles (Slighty), Richard James-Neale (Curly), Jacob James Beswick (Twin, Chris Lew Kum Hoi (Twin), Carl Prekopp (Gentleman Starkey), Okorie Chukwu, Owain Gwynn, Jonathan Holby (Pirate), Arthur Kyeyune (Pirate), Melanie Pappenheim (musician), Daniel Bradley (musician), Candida Caldicot (musician), Zands Duggan (musician), Tamara Young (musician), Joe Swain (Show Climber).
Presse : "Women are further presented as saintly care-givers by being Peter Pan-reading nurses in the wartime hospital. But if the historical concepts don’t always fly, the production happily does: this has family summer outing written all over it." Holly Williams for The Independent

"Not everything works. Barrie’s original story is full of mother-figure angst, but the lamenting, angelic mother character who haunts this production feels a bit out of place. And it is never entirely convincing having adults playing children." Claire Allfree for The Telegraph

Version 6

Peter Pan (2018-05-Open Air Theatre, Regent s Park-London)

Type de série: Reprise
Théâtre: Open Air Theatre, Regent's Park (Londres - Angleterre)
Durée : 3 semaines
Nombre :
Première Preview : Thursday 17 May 2018
Première : Thursday 24 May 2018
Dernière : Friday 15 June 2018
Mise en scène : Timothy Sheader • Liam Steel •
Chorégraphie :
Producteur :
Avec : Hiran Abeysekera (Peter Pan), David Birrell (Captain Hook), Beverly Rudd (Smee), George Bukhari (Nibs), Kae Alexander (Wendy), Patrick Osborne (John), Thomas Dennis (Michael), Rachel Donovan (Tinker Bell), Eben Figueiredo (Tootles), Thomas Pickles (Slighty), Richard James-Neale (Curly), Jacob James Beswick (Twin, Chris Lew Kum Hoi (Twin), Carl Prekopp (Gentleman Starkey), Okorie Chukwu, Owain Gwynn, Jonathan Holby (Pirate), Arthur Kyeyune (Pirate), Melanie Pappenheim (musician), Daniel Bradley (musician), Candida Caldicot (musician), Zands Duggan (musician), Tamara Young (musician), Joe Swain (Show Climber).
Presse : "Women are further presented as saintly care-givers by being Peter Pan-reading nurses in the wartime hospital. But if the historical concepts don’t always fly, the production happily does: this has family summer outing written all over it." Holly Williams for The Independent

"Not everything works. Barrie’s original story is full of mother-figure angst, but the lamenting, angelic mother character who haunts this production feels a bit out of place. And it is never entirely convincing having adults playing children." Claire Allfree for The Telegraph