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Musical
Musique: Jeff Marx • Robert Lopez • Paroles: Jeff Marx • Robert Lopez • Livret: Jeff Whitty • Production originale: 14 versions mentionnées
Dispo: Résumé Synopsis Commentaire Liste chansons
Avenue Q is an "autobiographical and biographical" coming-of-age parable, addressing and satirizing the issues and anxieties associated with entering adulthood. Its characters lament that as children, they were assured by their parents, and by children's television programs such as PBS's Sesame Street, that they were "special" and "could do anything"; but as adults, they have discovered to their surprise and dismay that in the real world their options are limited, and they are no more "special" than anyone else.
Genèse:
Résumé: Avenue Q” : où comment les humains comme les marionnettes affrontent les affres de la vie moderne. Cette comédie hilarante raconte l’arrivée à New York de Princeton avec ses grands rêves et son petit compte en banque, il s’installe alors Avenue Q et découvre un voisinage plutôt sympathique. Princeton se fait rapidement des amis , Brian le comédien au chômage et sa fiancé thérapeute Christmas Eve, Nicky la flemmarde au grand cœur et son colocataire Rod, un banquier républicain, Trekkie Monster l’accro à internet, et enfin Kate la ravissante maîtresse d’école. Princeton et ses nouveaux amis se retrouvent confrontés aux problèmes de la vie : trouver un emploi, l’amour ainsi que leur but dans la vie… Une comédie plusieurs fois récompensée aux Etats-Unis !
Création: /3/2003 - Vineyard Theatre (Broadway (Off)) - représ.
Musical
Musique: Matt Stone • Robert Lopez • Trey Parker • Paroles: Matt Stone • Robert Lopez • Trey Parker • Livret: Matt Stone • Robert Lopez • Trey Parker • Production originale: 2 versions mentionnées
Dispo: Synopsis Commentaire Génèse Liste chansons
Vidéos:
Genèse: The Book of Mormon was conceived by Trey Parker, Robert Lopez, and Matt Stone. Both Parker and Stone grew up in Colorado, and were somewhat familiar with the Mormon church and its members. Parker had an extensive background in music before meeting Stone; in high school, he was in the chorus of a community theater production of The Best Little Whorehouse in Texas, was piano player for the chorus as well as president of Choir Counsel. He also performed in productions of Grease and Flower Drum Song, and helped build the set for the community theater production of Little Shop of Horrors. The writers became friends at the University of Colorado at Boulder. At the college, they collaborated on a musical film, Cannibal! The Musical (1993), their first experience with musicals. In 1997, they created the TV series South Park for Comedy Central and the 1999 musical film South Park: Bigger, Longer & Uncut. The two had first thought of a fictionalized Joseph Smith, religious leader and founder of the Latter Day Saint movement, while working on an aborted Fox series about historical characters. Their 1998 film, Orgazmo, and the 2003 episode "All About Mormons" of South Park both gave comic treatment to Mormonism. During the summer of 2003, Parker and Stone flew to New York City to discuss the script of their new film, Team America: World Police, with friend and producer Scott Rudin (who also produced South Park: Bigger, Longer & Uncut). Rudin advised the duo to see the musical Avenue Q on Broadway, finding the cast of marionettes in Team America similar to the puppets of Avenue Q.[9] Parker and Stone went to see the production during that summer, and Lopez, writer-composer of Avenue Q, noticed them in the audience and introduced himself. Lopez revealed that South Park: Bigger, Longer & Uncut was highly influential in the creation of Avenue Q. The trio went for drinks afterwards, and soon found that each camp wanted to write something involving Joseph Smith. The three began working out details nearly immediately, with the idea to create a modern story formulated early on. For research purposes, the trio took a field trip to Salt Lake City where they "interviewed a bunch of missionaries—or ex-missionaries."[10] They had to work around Parker and Stone's South Park schedule. In 2006, Parker and Stone flew to London where they spent three weeks with Lopez, who was working on the West End production of Avenue Q. There, the three wrote "four or five songs" and came up with the basic idea of the story. For the next few years, the trio met frequently to develop what they initially called The Book of Mormon: The Musical of the Church of Jesus Christ of Latter-day Saints. "There was a lot of hopping back and forth between L.A. and New York," Parker recalled. Lopez pushed for the stage, and his partners concurred. Lopez prodded them to take the project a step further and "workshop" it, which baffled Parker and Stone, clueless about what he meant. Developmental workshops directed by Jason Moore starred Cheyenne Jackson. Other actors in readings included Benjamin Walker and Daniel Reichard. The crew embarked on the first of a half-dozen workshops that would take place during the next four years, ranging from 30-minute mini-performances for family and friends to much larger-scale renderings of the embryonic show. They spent hundreds of thousands of dollars of their own money, still unconvinced they would take it any further. In February 2008, a fully staged reading starred Walker and Josh Gad as Elders Price and Cunningham, respectively. Moore was originally set to direct, but left the production in June 2010. Other directors, including James Lapine, were optioned to join the creative team, but the producers recruited Casey Nicholaw. A final five-week workshop took place in August 2010, when Nicholaw came on board as choreographer and co-director with Parker. Rudin was named as the producer of the show. Originally, Rudin planned to stage The Book of Mormon off-Broadway at the New York Theater Workshop in Summer 2010, but opted to premiere it directly on Broadway, "[s]ince the guys [Parker and Stone] work best when the stakes are highest." Rudin booked the Eugene O'Neill Theatre and hired key players while sets were designed and built. Rudin expected the production to cost $11 million, but it came in under budget at $9 million. Hundreds of actors auditioned and 28 were cast. When a rehearsal space was found, the work of producing a full-blown musical got under way. Parker and Stone, along with their families, decamped from Los Angeles to New York City shortly after the completion of South Park's fourteenth season in November 2010. The cast and crew then frantically delved into rewrites and rehearsals. The crew did four weeks of rehearsals, two weeks of 'tech', and then went directly into previews. The producers only heard the musical with a full orchestra a mere six days before the first paying audience.
Résumé:
Création: 24/3/2011 - Eugene O'Neill Theatre (Broadway) - représ.
Musical
Musique: Kristen Anderson-Lopez • Robert Lopez • Paroles: Kristen Anderson-Lopez • Robert Lopez • Livret: Jennifer Lee • Production originale: 3 versions mentionnées
Dispo: Résumé Génèse
Genèse: In January 2014, Iger stated that Disney Theatrical Productions is in early development of a Broadway stage musical adaptation of Frozen. No specific date has yet been set for this adaptation. "We're not demanding speed," Iger said. "We're demanding excellence." During Disney's February 2014 earnings call, Iger congratulated "all those involved with Frozen" and reiterated that it would "be going to Broadway." He also noted that Frozen "has real franchise potential" and predicted that "You will see Frozen in more places than you've certainly seen today." At the end of March 2014, Del Vecho confirmed that there had been "discussions on how we can support the [film's] characters at other locations [and] [w]e are also discussing making a theatrical [musical] version of Frozen, but these things take time."[7] In late June, Anderson-Lopez and Lopez said there will be a musical based on Frozen within "a few years". In an October 2014 interview, Thomas Schumacher, the president of Disney Theatrical Group, disclosed that discussions about a musical had begun even before the film was released almost a year earlier. After watching Frozen at a pre-release midnight screening, he texted Lasseter at 1:30 a.m. with "When can we start?" and got a call back from Lasseter within 60 seconds. Schumacher explained: "My job is to corral the writers of the movie. I'm already talking to directors, and I have a design concept, and we have to begin to fashion this idea. It doesn't need to be fast. It needs to be great." On February 12, 2015, the Daily Mail reported that Lopez, Anderson-Lopez, Lee, and Schumacher had been meeting with two-time Tony Award nominee Alex Timbers to discuss ideas for getting the musical into a theatre by 2017. The next day, Schumacher issued a terse statement confirming only that the songwriters were working on the show and that Lee would be writing the "book" of the stage version (the musical equivalent of a script), then stressed that "no other staffing or dates have been announced". On July 23, 2015, The New York Times reported that among various projects, the songwriters were "writing about a dozen new songs" for the Frozen musical. On February 9, 2016, Disney Theatrical announced that the musical was scheduled to open on Broadway in spring 2018. At that time, Disney also confirmed that several additional people were now part of the musical's creative team, including Timbers as director, as well as Stephen Oremus, Peter Darling, Bob Crowley, and Natasha Katz. Two days later, it was confirmed that the musical would first go through a pre-Broadway tryout in August 2017 at the Denver Center for the Performing Arts.[14] In April 2016, it was reported that Betsy Wolfe had been cast as Elsa, but a Disney spokesperson said on April 26 that no roles have been officially cast. On April 25, the songwriters mentioned to an interviewer that they were about to head into a developmental lab next week for the musical. Anderson-Lopez explained that while "the movie only has seven-and-a-half songs ... we’ve written about 23" for the musical," in the sense that they doubled the number of original songs and then there are reprises of those. Lopez explained that the musical would follow the same story as the film, but they were adapting all the iconic moments from the film to the musical theatre environment. It was later reported that the musical's first developmental lab was held over two weeks during May 2016 in New York City, with Betsy Wolfe as Elsa, Patti Murin as Anna, Okieriete Onaodowan as Kristoff, and Greg Hildreth as Olaf, and that Iger himself attended the lab at one point.[17] However, Disney had not yet committed to a cast for the Denver tryout production. On September 27, 2016 Disney announced the new creative team: Michael Grandage is the director and Christopher Oram is the scenic designer. Christopher Gattelli had been previously announced as choreographer. (Alex Timbers and Bob Crowley are no longer involved.) The musical will open on Broadway at the St. James Theatre. On April 17, 2017, Disney on Broadway announced that Caissie Levy will star as Elsa and Patti Murin would portray Anna. Other cast-members will include Jelani Alladin as Kristoff, Greg Hildreth as Olaf, John Riddle as Hans and Robert Creighton as Duke of Weselton. Rob Ashford also joined the creative team as the show's choreographer.
Résumé: Loosely based on Hans Christian Anderson's fairytale The Snow Queen, the story takes place in the Scandinavian surrounds of Arendelle, where two royal sisters, Elsa and Anna must grow up alone after losing their parents in a tragic sea accident. Elsa, the elder of the two must also contend with a secret - she has the power to create ice and snow with her bare hands, which she must keep secret, even from her sister, who nearly died whilst playing together as little girls. Anna by contrast is a sunny, albeit naive young lady who yearns for the outside world, having been isolated from Elsa since the accident. When Elsa comes of age, she must take the throne as Queen, and the kingdom is reopened for her coronation - just for one day. Anna meets a handsome and charming Prince called Hans, who she instantly wishes to marry, much to Elsa's consternation. When the argument inadvertently reveals Elsa's powers, she flees to the wild North Mountain to live out a life of solitude and freedom. But Anna must find her sister and bring her back (with the help of an ice-seller, his reindeer and a talking snowman), otherwise the fate of Arendelle will be frozen forever, and left to the mercy of a cruel power.
Création: 17/8/2017 - Buell Theatre (Denver) - représ.