Musical (2018)

Musique: Marius de Vries
Paroles: Eddie Perfect
Livret: Jack Thorne
Production à la création:

This synopsis describes the 2013 production in Australia.

Act I
In the middle of The Great Depression in New York City, film director Carl Denham is pressured to find a leading lady for his next film ("Hunting Season"). He searches the city for a woman fitting for the role but with little success ("Sweethearts on Parade/Brother Can You Spare a Dime"). Meanwhile, Ann Darrow is also struggling to cope with life in the city ("What's It Gonna Take"). She is robbed by thugs who taunt her by tossing around her belongings ("I Wanna Be Loved by You"). Denham spots her and realises she is perfect for the role. Ann is almost arrested for trying to steal an apple but Denham is able to prevent it. He offers her a job to star in his picture which she reluctantly accepts. Ann boards his ship and meets the crew including Jack Driscoll with whom she does not get along at first. The ship leaves the port as Denham thinks about how successful his new film will be ("Colossus"). The next morning Ann is nervous about her screen test but later becomes confident as she gets ready ("Special FX"). She and Jack get to know each other a little better ("Perfect') and eventually fall in love ("Foxtrot").

The ship eventually arrives at Skull Island, the crew argue about whether to turn back or explore the island but Denham insists they go ashore. They interrupt the natives' sacrificial ritual and a fight breaks out ("Ritual"). The crew head back to the ship but Ann is abducted and offered as a sacrifice to Kong ("Ascent"). The crew go to rescue her but are too late as Kong has already taken her. Jack, however is determined to get Ann back and ventures into the jungle ("In the Face of Forever"). Meanwhile, Ann wakes up to face Kong in his cave. At first she is frightened but she builds the courage to stand up to him. Kong protects her when she is almost attacked by a giant snake and they form a special bond ("Full Moon Lullaby"). While Kong falls asleep, Jack quietly approaches and Ann reluctantly goes back with him. Kong suddenly wakes and realises Ann has gone and chases after them ("The Chase"). Denham and the crew capture Kong using gas bombs to knock him out and Ann as bait, much to her dismay. Denham decides to present Kong to the public in New York.

Act II
Now back in New York, Ann contemplates her experiences on Skull Island ("What's It Gonna Take") while Denham advertises for his show in which he intends to present a now captive Kong to the audience ("The Greatest Show on Earth"). Jack proposes to Ann and she accepts ("Dance with Me"). The couple are about to enter the theatre when Ann asks for a moment alone before joining him as she is caught between starting a new life with Jack and her affection and sympathy for Kong ("A Simple Prayer"). Denham presents Kong in chains to the audience much to their astonishment. Ann and Jack rush onto the stage causing Denham to panic as he is worried they will try to turn the public against him. Ann tries to console Kong but when Denham orders the guards to remove her, despite Jack warning them not to touch her, Kong believes they are trying to hurt her and breaks free as Jack quickly escapes with Ann. Denham sends out the Avalanches to entertain and calm down the nervous crowd ("Get Happy").

Kong rampages through the city in search of Ann and kills few look-alikes, but Ann manages to find him and calm him down. He gently picks her up and takes her to the top of the Empire State Building as the public watch in awe. Denham is arrested despite his protests "It was beauty killed the beast! Not me!" ("Rise"). Atop, Ann and Kong share a moment ("Full Moon Lullaby (Reprise)") but it is cut short when airplanes begin to shoot at Kong. Ann desperately yells for them stop but they don't hear her. Kong is fatally shot in the neck and falls to his death ("Amen, Opus 35"). Below, Jack reunites with a devastated Ann while the crowd gather around to see Kong's dead body.

It is based on the 1933 film of the same name.

The Australian production took five years of planning and over five months of rehearsals. Its director, Daniel Kramer, said that it took "three years of auditions and workshops" before performances began. He added, "It’s tempting to focus on the spectacle of King Kong himself. But it is only through the humanity of the life around him – the people of New York City, the comic megalomania of filmmaker Carl Denham, the stubborn opposition of first mate Jack Driscoll, and the grace, beauty and power of our leading lady, Ann Darrow – that he truly takes life."

The musical, according to the 2013 press notes, "has gone back to the source – the novella of the original film by Merian C. Cooper and Edgar Wallace."

An earlier version of the musical opened at the Regent Theatre in Melbourne, Australia on 15 June 2013, following previews from 28 May 2013. It featured a score by Marius de Vries, lyrics by Michael Mitnick and Craig Lucas, a book by Lucas, and additional music and lyrics by 3D, Sarah McLachlan, Guy Garvey, Justice and The Avalanches. The production was directed by Daniel Kramer and choreographed by John O’Connell.

Originally booking through 28 July 2013, the musical extended its booking period three times,[3] closing on 16 February 2014, after an almost nine-month run. The show was produced by Global Creatures, which partnered with animatronics workshop The Creature Technology Company, who designed the six-metre animatronic silverback title character.

Engineered, designed and built by Global Creature Technology in West Melbourne, Australia, the title role was the largest puppet ever created for the stage. The 2013 press notes stated that Kong was "a highly sophisticated animatronic/marionette hybrid that will be controlled by the integration of hydraulics, automation and the manual manipulation from a team of puppeteer/aerialists. ... A group of 35 on-stage and off-stage puppeteers work to manipulate the large-scale puppet. Several puppeteers are positioned on swinging trapezes and others launch themselves as counterweights off the puppet's shoulders to raise Kong's massive arms as he runs and swipes at planes during the performance. ... [The musical features] a cast of 49 actors, singers, dancers, circus performers and puppeteers; a crew of 76; and arguably the most technologically advanced puppet in the world – a one-tonne, six-metre giant silverback".

The Broadway premiere of King Kong was originally scheduled to take place in 2014. Gerry Ryan of Global Creatures told Australian Radio Station 3AW in January 2014: "I was in New York recently and went to the theatre, and so, they're getting ready – Spider-Man: Turn Off the Dark's closed there at the Foxwoods and we'll be opening on 12 December 2014." Producers soon announced delays. By September 2014, Marsha Norman was engaged to rewrite the book.

In 2015, Jason Robert Brown was added to the team[9] "to write songs for the characters. There's a whole lot of music that already exists for King Kong." Formal presentations for the production began in February 2016.

The musical opened at the Broadway Theatre for previews on October 5, 2018, with the official opening on November 8.[14] The creative team includes book writer Jack Thorne, director-choreographer Drew McOnie, and Australian songwriter Eddie Perfect, who replace the former creatives.

Box Office
The play grossed just over a $1 Million during its opening week.

Original Melbourne production (2013)
Act I
"Hunting Season" – Carl Denham
"Sweethearts on Parade" – Busker Quartet
"Brother, Can You Spare a Dime?" – Company
"What's It Gonna Take?" – Ann Darrow
"I Wanna Be Loved by You" – The Company
"Colossus" – Carl
"Special FX" – Ann and Company
"Perfect" – Jack Driscoll
"Foxtrot" – Instrumental
"Ritual" – High Priestess and Company
"The Ascent" – Instrumental
"In the Face of Forever" – Jack
"Full Moon Lullaby" – Ann
"The Chase" – Instrumental

Act II
"What's It Gonna Take? (Reprise)" – Ann
"The Greatest Show on Earth" – Carl, Cassandra and Company
"Dance with Me" – Jack
"A Simple Prayer" – Ann
"Kill 4 the Thrill" - Carl and Company
"Get Happy" – Company
"Rise" – Cassandra and Company
"Full Moon Lullaby (Reprise)" – Ann
"Amen, Opus 35" – Instrumental

Original Broadway production (2018)
Act I
"Prologue" - Company
"Dance My Way to the Light" - Female Ensemble
"Queen of New York" - Ann Darrow and Company
"Building the Boat/Setting Sail" - Carl Denham and Orchestra
"Cabin Soliloquy" - Ann and Company
"Pressure Up" - Captain Englehorn and Male Ensemble
"The Mutiny" - Carl, Captain Englehorn and Male Ensemble
"Skull Island" - Orchestra
"The Ascent" - Orchestra
"The World" - Carl
"The Cobra Fight" - Orchestra
"Full Moon Lullaby" - Ann
"The Descent" - Orchestra
"Kong’s Capture" - Orchestra

Act II
"Entr’acte: The Voyager Returns" - Orchestra
"It’s Man" - Carl, Ann and Company
"The Wild and Perilous Sea" - Company
"Last of Our Kind" - Ann
"Last of Our Kind (Reprise)" - Female Ensemble
"Scream for the Money" - Ann and Company
"Dance My Way to the Light (Reprise)" - Orchestra
"Broadway Nightmare" - Ann and Female Ensemble
"NYC Chase" - Orchestra
"Empire Ascent" - Orchestra
"The World (Reprise)" - Carl
"Air War" - Orchestra
"Empire Soliloquy" - Ann
"The Wonder" - Ann and Company

Aucun dossier informatif complémentaire concernant King Kong

Aucun dossier informatif complémentaire concernant King Kong

Version 1

King Kong (2018-11-Broadway Theatre-Broadway)

Type de série: Original
Théâtre: Broadway Theatre (Broadway - Etats-Unis)
Durée : Se joue actuellement
Nombre : 29 previews -
Première Preview : 05 October 2018
Première: 08 November 2018
Dernière: Open end
Mise en scène : Drew McOnie
Chorégraphie : Drew McOnie
Producteur :
Star(s) :
Avec: Christiani Pitts (as Ann Darrow), Eric William Morris (as Carl Denham), and Erik Lochtefeld (as Lumpy)
Presse : "The only reason for this King Kong to exist is its title character." Ben Brantley for New York Times

"The titular creation, designed by Sonny Tilders, is truly impressive: a 20-foot, 2,000-pound animatronic marvel that would be the pride of any amusement-park thrill ride." Adam Feldman for Time Out New York

"Director/choreographer Drew McOnie keeps the action moving well enough, starting with a knockout montage sequence, but after a while, the dancing starts to seem like a "Hamilton" rip-off. But none of that matters if seeing a giant life-like gorilla puppet on the stage is your idea of great theatre, and it is awesome. All others: enter at your own risk." Roma Torre for NY1

"Even if the star puppet might be better suited for an arena spectacle or theme-park attraction, you can't take your eyes off this technological marvel, not least for its incredible facial expressiveness. It's completely appropriate that the animatronic gorilla and its operators get the show's final bow." David Rooney for Hollywood Reporter

"It’s all about the 2,000-pound gorilla in the room, and this visually dazzling production delivers big time despite a mishmash of styles and generic tunes." Frank Rizzo for Variety

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