Londres
Studio 54
Broadway - Etats-Unis
Construction: 1927
Topologie du théâtre
Nombre de salles actives: 1
Salle 1: (922) 1927 - Actif
Accès
En métro:
En bus:
Adresse: 254 W. 54th St., New York, NY
Evolution
Bâtiment:
Nom:
Propriétaire(s)
Remarquable
922
1927 - Actif
Eugene DeRosa, architect. Built by Fortune Gallo. Foreclosed after the market crash. In 1933, became the Casino de Paris, a nightclub run by Billy Rose. WPA took over in 1937. CBS acquired the space in 1942, used it as a studio, and sold it in 1972. The new owners opened a disco, Studio 54, making headlines for the celebrities in attendance as well as the embezzlement scandal that forced them to sell it in 1980. Roundabout Theatre Company bought the theatre after "Cabaret" (1998) was a success there.
Musical
Revival
19) Kiss me Kate (Revival)
Joué durant 2 mois 2 semaines
Première preview: 14 February 2019
Première: 14 March 2019
Dernière: 02 June 2019
Compositeur: Cole Porter •
Parolier: Cole Porter •
Libettiste: Bella Spewack • Samuel Spewack •
Metteur en scène: Scott Ellis •
Chorégraphe:
Avec: Kelli O'Hara (as Kate / Lilli Vanessi), Will Chase (as Fred Graham / Petruchio), Corbin Bleu (as Bill Calhoun / Lucentio), Terence Archie (as Harrison Howell), Mel Johnson Jr. (as Harry Trevor/Baptista), Stephanie Styles (as Lois Lane/Bianca), Adrienne Walker (as Hattie), Lance Coadie Williams (as Gangster [Second Man]), and John Pankow (as Gangster [First Man])
Commentaire: Roundabout Theatre Company presents a brand new revival of the Cole Porter musical comedy classic (and winner of the first-ever Tony Award for "Best Musical") Kiss Me, Kate!, starring Tony Award winner Kelli O'Hara. (plus)
Presse:
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Théâtre
Original
18) Lifespan of a Fact (The) (Original)
Joué durant 2 mois 3 semaines
Nb de preview: 32 previews
Nb de représentations: 44 représentations
Première preview: 20 September 2018
Première: 18 October 2018
Dernière: 13 January 2019
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Divers •
Metteur en scène: Leigh Silverman •
Chorégraphe:
Avec: Daniel Radcliffe (as Jim Fingal), Cherry Jones (as Emily Penrose) and Bobby Cannavale (as John d'Agata)
Commentaire: Daniel Radcliffe, Cherry Jones & Bobby Cannavale return to the Great White Way to star in the world premiere of The Lifespan of a Fact, directed by Tony Award nominee Leigh Silverman.
The Lifespan of a Fact is based on the stirring true story of John d'Agata’s essay, “What Happens There,” about the Las Vegas suicide of teenager Levi Presley. Jim Fingal, assigned to fact check the piece, ignited a seven-year debate on the blurred lines of what passes for truth in literary non-fiction.
"Why let the facts get in the way of a good story?" as the old adage goes. And yes, that is the central dilemma of this 95-minute no intermission play that hurtles through a few crucial days in the lives of writer John d'Agata, fact-checker Jim Fingal and editor Emily Penrose. Two opposing ideologies collide in a battle of two stubborn and highly intellectual combatants, while we are forced to ask ourselves where we stand. Facts are facts and there is no evading them, according to Jim. Or can facts be manipulated if they artistically enhance the telling of the story, John poses. Anyone who has never told a lie has never told a good story… Emily resides as judge and jury over the proceedings and it will ultimately be her call whether to publish the essay or not, as we draw ever closer to the Monday morning deadline.
Now you think you know what to expect... A drama that solely consists of a heavily-armed debate of ethical ideals? Think again... The Lifespan of a Fact is so deliciously packed with comedy, it catches you off-guard and draws you in unknowingly. Daniel Radcliffe, in particular, shines brightly, showing off his uncanny ability for comic timing as the obsessive, terrier-like Jim. His exchanges with Bobby Canavale (as John), as he flies to Las Vegas to confront the writer in his own home, are priceless. From his deadpan facial expressions to his slightly awkward physicality opposite the much larger stature of Cannavale, Radcliffe is delivering a master class that is well worth the price of admission.
Cherry Jones is also perfectly cast as the voice of reason and the authority in the equation. She exudes a wealth of experience and credibility on the stage and manages to steer the ship steadily towards its conclusion; albeit a deliberately ambiguous one, as we, the audience, momentarily slip into her shoes.
This production has an air of slickness about it - from Lucy Mackinnon's ultra-modern timeline and email projections to Mimi Lien's seamlessly efficient sliding sets - and director Leigh Silverman's execution is always precise, in terms of the pacing and use of space. It is a rare occasion that a new play stages its world premiere directly on Broadway and on this occasion, no doubt aided by the star quality and appeal of its cast, it has been a resounding success. Let's hope that the lifespan of this play reaches past Studio 54 and out into the rest of the theatrical world. (plus)
Presse: "With its cast, its dead-on timing, its perfect set by Mimi Lien and sound design by Palmer Hefferan, it would probably nail its laughs even without the dialogue. It’s what you call a good time. Of course, I can’t prove that." Jesse Green for New York Times
"Like most issue plays these days, this one ends on a note of ambiguity, but I suspect that most people in the audience will have made up their minds by then. It may be a problem when you can’t see the forest for the trees, but if the trees aren’t real, can you even call it a forest?" Adam Feldman for Time Out New York
"Written by Jeremy Kareken, David Murrell, and Gordon Farrell, The Lifespan of a Fact is a riveting 90 minutes. Leigh Silverman directs with a sharp eye, encouraging her excellent actors to flesh out the roles with natural humor and nuance." Roma Torre for NY1
"At the first press performance of the crackerjack new Broadway play The Lifespan of a Fact, the laughs seemed especially explosive from copy editors in the audience, along with every writer who has ever dealt with that endangered species. But the spry humor, rippling tension and provocative reflections of this ingenious adaptation of the sui generis book of the same name will by no means speak exclusively to those of us who make our livings as members of the fourth estate." David Rooney for Hollywood Reporter
"Harry Potter had no sense of humor whatsoever, but Daniel Radcliffe proves to be a master of comedy in The Lifespan of a Fact, the brainy Broadway play that Jeremy Kareken, David Murrell and Gordon Farrell adapted from a magazine article — better described, perhaps, as that classier literary form, the Essay — and a subsequent book by John D’Agata and Jim Fingal." Marilyn Stasio for Variety
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Théâtre
Revival
17) Children of a Lesser God (Revival)
Joué durant 1 mois 2 semaines
Nb de preview: 23 previews
Nb de représentations: 54 représentations
Première preview: 22 March 2018
Première: 11 April 2018
Dernière: 27 May 2018
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Divers •
Metteur en scène: Kenny Leon •
Chorégraphe:
Avec: Joshua Jackson (as James Leeds), Lauren Ridloff (as Sarah Norman), Kecia Lewis (as Mrs. Norman), Julee Cerda (as Edna Klein), Treshelle Edmond (as Lydia), Anthony Edwards (as Mr. Franklin), and John McGinty (as Orin Dennis)
Commentaire: The acclaimed Berkshire Theater Group revival of Mark Medoff's 1980 Tony Award-winning "Best Play" Children of a Lesser God transfers to Broadway under the helm of Tony Award winner Kenny Leon.
TV favorite Joshua Jackson, known for his recurring roles on shows such as "The Affair", "Fringe", and "Dawson's Creek", reprises his performance as James Leeds, alongside co-star Lauren Ridloff as Sarah Norman. Both actors are making their Broadway debuts in the production, which began performances at Broadway's Studio 54 on March 22, 2018.
With supertitles and closed captioning at every performance, as well as American Sign Language (ASL) interpreters at select performances, this production is perhaps the most accessible show in Broadway history and is shedding light on the non-hearing world - a demographic of society that receives sadly too little media attention. Kenny Leon's interpretation is a highly-stylized piece with minimalistic set pieces, surrounded by doorways and tree-trunks, bathed in cold and clinical lighting. The warmth of the piece is solely emitted through the intensity of the interactions between James Leeds and Sarah Norman, and with the latter's relationship with her mother, which evolves from estrangement to redemption. The text also highlights the deaf person's ability to enjoy music on a couple of occasions (through sensitivity to vibrations) and Mr. Leon has taken that opportunity to delve into his own collection of favorite artists to supply a soundtrack to Children of a Lesser God, beginning with Stevie Wonder.
For hearing members of the audience, the play is an intriguing insight into the non-hearing world, especially in its consideration of how members of the deaf community relate to each other and if they desire to be a part of the hearing world or shut themselves away from it. For non-hearing members of the audience, Children of a Lesser God is a rare opportunity of total inclusion, where their trials, tribulations and triumphs stand rightfully in the limelight. (plus)
Presse: "The pungency of sign language is not the subject of Mark Medoff’s Children of a Lesser God, which opened on Wednesday at Studio 54 in a mixed bag of a Broadway revival directed by Kenny Leon. But it’s a wonderful bonus to the play’s fierce rivalry between those who promote spoken English as the highest attainable form of communication and those who are staunch partisans of silence." Jesse Green for New York Times
"In the role for which Phyllis Frelich won a Tony and Marlee Matlin an Oscar, Ridloff, a wonderfully expressive actress, provides the show with its vibrant beating heart. She connects with and conveys Sarah’s anger, desire, vulnerability and independent spirit — and leaves a lasting impression." Joe Dziemianowicz for New York Daily News
"Children of a Lesser God is ultimately about how hard it is to understand Sarah’s inner life, but Ridloff is the only thing in the play that seems to have any inner life at all. She is a wonder; the rest is mostly unspeakable." Adam Feldman for Time Out New York
"If there's a more indigestible lump of bouncy 1970s pop schmaltz than Paul McCartney's "Silly Love Songs," right now it escapes me. It's one of a handful of intrusive music choices that director Kenny Leon makes in the dreary Broadway revival of Children of a Lesser God, a once-groundbreaking 1979 play by Mark Medoff that today needs no help showing its age." David Rooney for Hollywood Reporter
"Memory can be deceptive, but it does seem as if this existential conflict between the speaking world and the silent world was portrayed more forcefully in the original production. In this revival, directed by Kenny Leon, the argument doesn’t really surface until the end of the play. Lacking that solid thematic foundation, Medoff’s play deflates into just another romantic drama about mismatched lovers struggling to surmount their differences and live happily ever after." Marilyn Stasio for Variety
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Théâtre
Original
16) Latin History for Morons (Original)
Joué durant 3 mois 1 semaine
Première preview: 19 October 2017
Première: 15 November 2017
Dernière: 25 February 2018
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Divers •
Metteur en scène: Tony Taccone •
Chorégraphe:
Avec: John Leguizamo
Commentaire: Tony Award & Golden Globe nominee and Emmy Award winner John Leguizamo has made a name for himself on both the stage and the silver screen. His iconic appearances in films such as "To Wong Foo Thanks for Everything, Julie Newmar", "Carlito's Way", as well as Baz Luhrmann's "Romeo + Juliet" and "Moulin Rouge!", have solidified him as a household name. Voicing the character of Sid the Sloth in the popular "Ice Age" movie franchise has also won him countless fans of a new generation. However on Broadway and off-Broadway, he is widely acclaimed for his topical and raucous one-man shows.
After the success of Mambo Mouth (1990), Spic-O-Rama (1992), his Tony-nominated performance in Freak (1998), Sexaholix... A Love Story (2001), and Ghetto Klown (2011), Leguizamo graces us yet again with a solo offering, this time inspired by the severe lack of Latino role models in his son's American History classes. Latin History for Morons played an extended limited engagement at The Public Theater in the spring of 2017 and now moves uptown to the iconic Studio 54.
Leguizamo writes in the Playbill of the show beneath his credits that he "never got into the real Studio 54 back in the day, doing the show here is the only way he could get in!" And lucky for us because Latin History for Morons is a most entertaining trip to Studio 54, where we are more than happy to play the role of the 'morons'.
The structure of Leguizamo's show is well-balanced and timed to perfection, shifting between the titular theme of dumbing down 3,000 years of latin history and, to our unexpected delight, regaling touching (and hilarious) stories about parenting. Leguizamo throws in a handful of latin-inspired dance breaks for good measure too, proving he's still got the moves and that (latin) dad dancing rules! He plays out the interactions between himself and his vulnerable son or between himself and his exasperating shrink with great comic timing and sensitivity. You never feel the performance dragging too much on one particular topic and the historical teachings are kept lively with the inclusion of such ingredients as syphilis and intimate relationships with sheep. Yes... sheep… (plus)
Presse: "Like the best mimics, John Leguizamo administers large but precisely calibrated doses of exaggeration to make his impersonations pop. In Latin History for Morons, a panoptic survey of two millenniums of oppression in the Americas, he tosses off dozens of quick character sketches that feel exactly as true as they are likely inaccurate." Jesse Green for New York Times
"Latin History for Morons is in session — and you shouldn’t let the teacher’s tweed jacket fool you into steeling yourself for a boring, by-the-book seminar. That’s because the teacher is John Leguizamo, and his fourth one-man work on Broadway bears his irreverent, entertaining stamp." Joe Dziemianowicz for New York Daily News
"The history he offers is often junky—his queeny version of Moctezuma II, for example, minces and vogues as he betrays the Aztecs—but rigor is hardly his goal. At the risk of “compliment-sulting” him in the style of his Latin mom: The show’s shortcomings are part of its message and, in a way, its appeal." Adam Feldman for Time Out New York
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Théâtre
Revival
15) Sweat (Revival)
Joué durant 3 mois
Nb de preview: 24 previews
Nb de représentations: 105 représentations
Première preview: 04 March 2017
Première: 26 March 2017
Dernière: 25 June 2017
Compositeur: *** Divers •
Parolier: *** Divers •
Libettiste: *** Divers •
Metteur en scène: Kate Whoriskey •
Chorégraphe:
Avec: Carlo Albán (Oscar), James Colby (Stan), Khris Davis (Chris), Johanna Day (Tracey), John Earl Jelks (Brucie), Will Pullen (Jason), Lance Coadie Williams (Evan), Michelle Wilson (Cynthia), Alison Wright (Jessie)
Commentaire: Following its sell-out run at the Public Theater, Lynn Nottage sees her acclaimed drama and 2017 Tony Award nominee for Best Play about the decline of industry transfer to Broadway's Studio 54. A searing portrayal of a group of friends pitted against each other in order to save their jobs amidst cutbacks, Nottage's work has been described by critics as incredibly timely for the state of employment in America. Sweat was awarded the 2017 Pulitzer Prize for Drama, making Nottage the first female playwright to win the prestigious award twice, following her 2009 win for Ruined. (plus)
Presse: "The arrival on Broadway of 'Sweat,' which originated at the fertile Oregon Shakespeare Festival and was previously staged in New York at the Public Theater, warrants serious applause. So does the fact that it marks the belated Broadway debut of Ms. Nottage, a justly acclaimed dramatist of ambitious scope and fierce focus." Ben Brantley for New York Times
"Broadway plays don’t get much more topical than 'Sweat,' a portrait of lost American dreamers adrift in an economic wasteland. At Studio 54, the play grabs you with its ripped-from-the-headlines social and political resonance. It also loses its grip due to predictability and a miscalibrated staging." Joe Dziemianowicz for New York Daily News
"Sweat communicates its points with minimal fuss and maximum grit. Along with the rage, despair and violence, there's humor and abundant humanity. Prophetic before the 2016 election, the piece now reads as a cautionary tale of what happens when you don’t know how to resist." David Cote for Time Out New York
"In 'Sweat,' Lynn Nottage goes where few playwrights have dared to go — into the heart of working-class America. Her insightfully observed characters all went to the same schools, work at the same factory, drink at the same bar, and are going to hell in the same hand basket. Their jobs, their community, and their way of life are doomed, in director Kate Whoriskey’s mercilessly realistic production, although no one seems to have gotten the message yet." Marilyn Stasio for Variety
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Musical
Original Broadway
14) Holiday Inn (Original Broadway)
Joué durant 3 mois 1 semaine
Première preview: 01 September 2016
Première: 06 October 2016
Dernière: 15 January 2017
Compositeur: Irving Berlin •
Parolier: Irving Berlin •
Libettiste: Chad Hodge • Gordon Greenberg •
Metteur en scène: Gordon Greenberg •
Chorégraphe:
Avec: Bryce Pinkham (Jim), Corbin Bleu (Ted), Lora Lee Gayer (Linda), Megan Lawrence (Louise), Megan Sikora (Lila Dixon), Lee Wilkof (Danny)
Commentaire: This is only the third ever staging of this show anywhere in the world. It debuted in 2014 to great acclaim in East Haddam, and then enjoyed an extended holiday season run at St. Louis' huge Muny amphitheatre. (plus)
Presse: "A perky but bland stage adaptation of the 1942 movie." Charles Isherwood for New York Times
"It’s familiar and vanilla-flavored fluff, but with tasty sprinkles: a fine cast, tap-happy hoofing and colorfully witty costumes." Joe Dziemianowicz for New York Daily News
"There’s more corn and cheese served in this earnest, sweater-vested affair than any nutritionist would approve, but what harm in a cup of early eggnog?" David Cote for Time Out New York
"This tuneful confection of standards from one of America's greatest songwriters definitely harkens back to the golden age of musicals." Jennifer Farrar for Associated Press
"The Irving Berlin songs work their magic in this formulaic but sweet-hearted musical." Frank Scheck for Hollywood Reporter
"Director Gordon Greenberg and co-writer Chad Hodge have significantly rethought, reshaped and revitalized the script, giving the show more heart, a slightly modern sensibility and a joyful spirit. Engaging performances, dynamic dancing and a lively orchestra make it the feel-good show of the fall." Frank Rizzo for Variety
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Musical
Revival
13) She loves me (Revival)
Joué durant 3 mois 3 semaines
Première preview: 19 February 2016
Première: 17 March 2016
Dernière: 10 July 2016
Compositeur: Jerry Bock •
Parolier: Sheldon Harnick •
Libettiste: Joe Matseroff •
Metteur en scène: Scott Ellis •
Chorégraphe: Warren Carlyle •
Avec: Laura Benanti (Amalia), Zachary Levi (Georg), Jane Krakowski (Ilona), Gavin Creel (Kodaly), Byron Jennings (Maraczek), Michael McGrath (Sipos), Nicholas Barasch (Arpad), Peter Bartlett (Head Waiter), Cameron Adams, Alison Cimmet, Justin Bowen, Preston Truman Boyd, Benjamin Eakeley, Sara Edwards, Michael Fatica, Gina Ferrall, Jenifer Foote, Andrew Kober, Laura Shoop et Jim Walton
Commentaire: Roundabout Theatre mark their 50th Anniversary season with a brand new Broadway revival production of She Loves Me. The musical holds a special place in Roundabout's history - their ten-time Tony nominated revival of the show in 1993 was the company's first Broadway Musical. This new production nearly matched that record this year, picking up eight Tony nominations, winning one.
2016 Tony Award Wins
Best Scenic Design of a Musical - David Rockwell
2016 Tony Award Nominations
Best Revival of a Musical
Best Performance by an Actor in a Leading Role in a Musical - Zachary Levi
Best Performance by an Actress in a Leading Role in a Musical - Laura Benanti
Best Performance by an Actress in a Featured Role in a Musical - Jane Krakowski
Best Scenic Design of a Musical - David Rockwell
Best Costume Design of a Musical - Jeff Mahshie
Best Direction of a Musical - Scott Ellis
Best Orchestrations - Larry Hochman
2016 Drama Desk Award Wins
Outstanding Revival of a Musical
Outstanding Featured Actress in a Musical - Jane Krakowski
Outstanding Orchestrations - Larry Hochman
Outstanding Set Design for a Musical (plus)
Presse:
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Musical
Revival
12) Cabaret (Revival)
Joué durant 11 mois 1 semaine
Première preview: 21 March 2014
Première: 24 April 2014
Dernière: 29 March 2015
Compositeur: John Kander •
Parolier: Fred Ebb •
Libettiste: Joe Matseroff •
Metteur en scène: Sam Mendes •
Chorégraphe: Rob Marshall •
Avec: Alan Cumming (Emcee), Michelle Williams (Sally Bowles), Bill Heck (Clifford Bradshaw), Aaron Krohn (Ernst Ludwig), Linda Emond (Fraulein Schneider), Gayle Rankin (Fraulein Kost), Danny Burstein (Herr Schultz), Jane Pfitsch (Rosie (Kit Kat Girl)), Kaleigh Cronin (Lulu (Kit Kat Girl)), Andrea Goss (Frenchie (Kit Kat Gir))
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Musical
Revival
11) Mystery of Edwin Drood (The) (Revival)
Joué durant 3 mois 3 semaines
Nb de preview: 28 previews
Nb de représentations: 136 représentations
Première preview: 19 October 2012
Première: 13 November 2012
Dernière: 10 March 2013
Compositeur: Ruppert Holmes •
Parolier: Ruppert Holmes •
Libettiste: Ruppert Holmes •
Metteur en scène: Scott Ellis •
Chorégraphe: Warren Carlyle •
Avec: Stephanie J. Block (Edwin Drood/Miss Alice Nutting), Will Chase (John Jasper/Mr. Clive Paget), Gregg Edelman (Reverend Mr. Crisparkle/Mr. Cedric Moncrieffe), Jim Norton (Chairman/Mr. William Cartwright), Chita Rivera (The Princess Puffer/Miss Angela Prysock), Andy Karl (Neville Landless/Mr. Victor Grinstead), Jessie Mueller (Helena Landless/Miss Janet Conover), Betsy Wolfe (Rosa Bud/Miss Deirdre Peregrine)
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Musical
Original
10) Sondheim on Sondheim (Original)
Joué durant 2 mois
Nb de preview: 38 previews
Nb de représentations: 72 représentations
Première preview: 19 March 2010
Première: 22 April 2010
Dernière: 27 June 2010
Compositeur: Stephen Sondheim •
Parolier: Stephen Sondheim •
Libettiste: James Lapine •
Metteur en scène: James Lapine •
Chorégraphe: Dan Knechtges •
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Musical
Revival
9) Pal Joey (Revival)
Joué durant 2 mois 1 semaine
Nb de preview: 34 previews
Nb de représentations: 85 représentations
Première preview: 14 November 2008
Première: 18 December 2008
Dernière: 01 March 2009
Compositeur: Richard Rodgers •
Parolier: Lorenz M. Hart •
Libettiste: John O'Hara •
Metteur en scène: Joe Mantello •
Chorégraphe: Graciela Daniele •
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Musical
Revival
8) Sunday in the Park with George (Revival)
Joué durant 4 mois 1 semaine
Première preview: 25 January 2008
Première: 21 February 2008
Dernière: 29 June 2008
Compositeur: Stephen Sondheim •
Parolier: Stephen Sondheim •
Libettiste: James Lapine •
Metteur en scène: Sam Buntrock •
Chorégraphe: Christopher Gattelli •
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Musical
Revival
7) 110 in the shade (Revival)
Joué durant 2 mois 3 semaines
Nb de preview: 27 previews
Nb de représentations: 94 représentations
Première preview: 13 April 2007
Première: 09 May 2007
Dernière: 29 July 2007
Compositeur: Harvey Schmidt •
Parolier: Tom Jones •
Libettiste: Richard Nash •
Metteur en scène: Lonny Price •
Chorégraphe: Dan Knechtges •
Avec:
Commentaire:
Presse: BEN BRANTLEY of THE NEW YORK TIMES: “Ravishing of voice and Olympian of stature, she’s (Audra McDonald) an overwhelming presence in an underwhelming show." / JOE DZIEMIANOWICZ of NEW YORK DAILY NEWS: "Audra McDonald proves once again she's more than a Broadway star - she's an entire constellation." / CLIVE BARNES of THe NEW YORK POST: "Despite the wondrous McDonald, a good supporting cast, Price's intelligent staging (backed by Dan Knechtges' lively choreography and admirably simple designs from Santo Loquasto), '110 in the Shade' remains a cold fish of a musical." / JACQUES LE SOURD of the JOURNAL NEWS: "This is hardly a winning revival of an old favorite." / MICHAEL SOMMERS of STAR-LEDGER: "Not a blockbuster musical, "110 in the Shade" is an unpretentious charmer and McDonald's shining performance lends the show an extra glow." / ELYSA GARDNER of USA TODAY: "McDonald's technique is meticulous, but its relentless precision and operatic vibrato can make her singing sound studied, particularly when the tunes have blues or jazz nuances. McDonald's acting, too, can seem self-conscious and overeager." / LINDA WINER of NEWSDAY: "In '110 in the Shade,' a sweetheart of a revival, McDonald bewitches us into forsaking the wattage of reality and believing that she's the plainest old maid in Texas." / ROBERT FELDBERG of the RECORD: "To prove that a single actor can turn a modest show into a compelling one, I offer as Exhibit A the performance by Audra McDonald." / ERIC GRODE of the NEW YORK SUN: "Audra McDonald has reclaimed her mantle as the era's premier musical-theater actress. Even when she's miscast, as in the Roundabout's capable new revival of '110 in the Shade,' Ms. McDonald is the anti-diva, incapable of singing a note or saying a word that in any way steals focus from or diminishes the material." / JOHN SIMON of BLOOMBERG: "Hottest of all may be the Lizzie of Audra McDonald. Not hitherto her fan, I was completely won over." & "What makes '110 in the Shade' exceptional is its first- rate score." / MICHAEL KUCHWARA of ASSOCIATED PRESS: "This Roundabout revival downsizes the musical a bit... But McDonald more than makes up for the paucity of production values. She's a performer who can fill any stage." / FRANK SCHECK of the HOLLYWOOD REPORTER: "A sweetly engaging work that's impossible to dislike, especially because it offers a wonderful leading role for four-time Tony Award winner Audra McDonald." / DAVID ROONEY of VARIETY: "This 1963 musical version of 'The Rainmaker' gets by on its charming score, old-fashioned romantic heart and, most of all, its magnetic lead, but the temperature rarely rises above that of a mild spring day." & "This is McDonald's show all the way, and she shines."
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Musical
Revival
6) Apple tree (The) (Revival)
Joué durant 2 mois 3 semaines
Nb de preview: 18 previews
Nb de représentations: 99 représentations
Première preview: 29 November 2006
Première: 14 December 2006
Dernière: 11 March 2007
Compositeur: Jerry Bock •
Parolier: Sheldon Harnick •
Libettiste: Jerry Bock • Jerry Coopersmith • Sheldon Harnick •
Metteur en scène: Gary Griffin •
Chorégraphe: Andy Blankenbuehler •
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Revival
5) Opéra de quat'sous (Revival)
Joué durant 2 mois
Nb de preview: 32 previews
Nb de représentations: 77 représentations
Première preview: 24 March 2006
Première: 20 April 2006
Dernière: 25 June 2006
Compositeur: Kurt Weill •
Parolier: Bertolt Brecht • François Villon •
Libettiste: Bertolt Brecht •
Metteur en scène: Scott Elliott •
Chorégraphe:
Avec: Avec: Alan Cumming, Jim Dale, Ana Gasteyer, Cyndi Lauper, Nellie McKay, Adam Alexi-Malle, Terry Burrell, Brian Butterick, David Cale, Romain Frugé, John Herrera, Christopher Innvar, Christopher Kenney, Carlos Leon, Deborah Lew, Maureen Moore, Brooke Sunny Moriber, Kevin Rennard, Brian Charles Rooney, Lucas Steele
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Revival
4) Assassins (Revival)
Joué durant
Nb de preview: 26 previews
Nb de représentations: 101 représentations
Première preview: 31 March 2004
Première: 22 April 2004
Dernière: 18 July 2004
Compositeur: Stephen Sondheim •
Parolier: Stephen Sondheim •
Libettiste: John Weidman •
Metteur en scène: Joe Mantello •
Chorégraphe: Aucun •
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Commentaire:
Presse: BEN BRENTLEY of the NEW YORK TIMES says “A very impressive achievement.” CLIVE BARNES of NEW YORK POST says “There's more ironic style here than theatrical substance.” HOWARD KISSEL of NEW YORK DAILY NEWS says “A show both repellent and riveting.” ELYSA GARDNER of USA TODAY says “Squalid splendor.” FRANK SCHECK of THE HOLLYWOOD REPORTER says "Demands to be seen." MICHAEL SOMMERS of STAR-LEDGER says "Extremely thoughtful fun." MICHAEL KUCHWARA of Associated Press says "Stunning, gut-punch of a musical ."
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Musical
Revival
3) Cabaret (Revival)
Joué durant
Première preview: Inconnu
Première: 12 November 1998
Dernière: 04 January 2004
Fait partie de: Broadway Run 1998
Compositeur: John Kander •
Parolier: Fred Ebb •
Libettiste: Joe Matseroff •
Metteur en scène: Sam Mendes •
Chorégraphe:
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Presse:
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Parolier: Fred Ebb •
Libettiste: Joe Matseroff •
Metteur en scène: Sam Mendes •
Chorégraphe:
Avec:
Revue
Original
2) Fast and Furious (Original)
Joué durant
Nb de représentations: 7 représentations
Première preview: 15 September 1931
Première: 15 September 1931
Dernière: 19 September 1931
Compositeur: Harry Revel •
Parolier: Mack Gordon •
Libettiste: *** Revue •
Metteur en scène: Forbes Randolph •
Chorégraphe:
Avec: Tim Moore, Clinton (Dusty) Fletcher, Etta Moten, Jackie (“Moms”) Mabley, Baby Goins, Melva Boden, Neeka Shaw, Al Richard; Lois Deppe, Ofelia Diaz, Edna Guy, Juano Hernandez, Gilbert Holland, Zora Neale Hurston, Midgie Lane, Russell Lee, Antonio Machin, Lee (“Boots”) Marshall, Lloyd Mitchell, Earl Shanks, Russell Shaw, Grace Smith, Clarence Todd, Joe Willis, Hemsley (possibly Helmsley) Winfield, Lily (“Pantop” [possibly “Pontop”]) Yuen, The J. Rosamond Johnson Quartet; The Forbes Randolph Choir: Girls—Sibol Cain, Ruby Elzy, Gladys Freeland, Ruby Greene, Marion Hairston, Rosina LeFroy, Emma Maitland, Julia Mitchell, Billy Wallace, Aurelia Wheeldin; Boys—Cecil Burrows, Jean Donnell, Maurice Ellis, L. Chappelle Glenn, Clement D. Hall, Larri Loerear, Penman Lovingood, Alexander O. Moody, Carl H. Taylor, Frederic A. Wheeldin; Dancing Girls: Doris Alexander, Juanita Boisseau, Bertie Boyd, Thelma Brunder, Mary Goodwin, Marion Green, Virginia Groves, Chickita Martin, Inez Persaud, Carolyne Rich, Edna Richardson, Evelyn Sheppard, Katherine Upshur, Wilhelmina Wade, Pearl White, Grace Hall, Cleopatra Ward, and possibly Dorothy Walker; Dancing Boys: Edward Jones, Thomas Smith, Frank Walker, Maurice Young
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