Généralités: Histoire, thèmes et particularités


Set in 1860’s Atlanta GONE WITH THE WIND follows the captivating and passionate story of Scarlett O’Hara and her turbulent relationship with the unpredictable, yet irresistible, Rhett Butler. Against the backdrop of the Civil War Scarlett embarks on an incredible journey of romantic ecstasy and tragic grief spanning ten years. As the epic tale draws to a close Scarlett discovers that the world she has known has changed forever – gone with the wind.

Synopsis complet

Quelques commentaires

This landmark new musical is directed by the legendary Trevor Nunn who reunites with designer John Napier, his collaborator on worldwide smash hits including Cats and Les Miserables. The stunning original score is by Margaret Martin who has also adapted the story from Margaret Mitchell’s Pulitzer Prize winning novel.


1 Gone with the wind peut-être considéré comme un Flop musical


Historique du musical


Gone with the Wind is a musical based on the Margaret Mitchell's novel of the same name and its 1939 film adaptation, with music and lyrics by Margaret Martin, and a book by Martin, adapted by Sir Trevor Nunn.

Génèse du musical

This was not the first musical version of Gone With the Wind. A musical adaptation by Harold Rome played a year at the Drury Lane Theatre in 1972, featuring Bonnie Langford. Margaret Martin, a newcomer to songwriting and playwriting, contacted the Stephen Mitchell Trust, sending tapes of songs and a draft script, and the Trust eventually agreed to give her the rights to make an adaptation of Gone with the Wind. At about the same time, Martin learned that Nunn was extremely interested in American history, and she sent him the materials as well. They collaborated on revisions over the next couple of years, which resulted in a workshop production in London in 2004. With the support of the Mitchell Trust and producer Aldo Scrofani of Columbia Artists Theatricals, plans began forming for the West End production. Plans for the production were officially confirmed in 2007.

Producer Scrofani said in interviews that their hope was that "this theatrical adaptation will cause our audiences to rediscover this timeless and rich story, while also providing each of them a meaningful and memorable experience". Nunn said that "having now worked on adapting two vast novels for the stage, Nicholas Nickleby and Les Misérables, I am drawn to the challenge of telling Margaret Mitchell's epic story through words, music and the imaginative resources of the theatre."

After opening to poor reviews and criticism of the length of the show, the producers announced that the show would be cut from its original running time of 3½ hours, and they reduced the running time to 3 hours 10 minutes including interval. Producer Scrofani announced that the production would close on June 14, 2008, after 79 performances, adding that "plans for a New York production are currently on hold."



Liste des chansons

Act I
Born to be Free
On Your Land
Ellen's Prayer
Gentle People
She's No Lady
Always In My Mind
Come Join the Troop
The Very Best People
I'm Your Man
Scarlett O'Hara Again
Can This Be All?
I'm Your Man (reprise)
Gone With The Wind

Act II
Born to be Free (reprise)
Desperate Times
Nobody Knows You
I'm Gonna Find My Own
On Your Land (reprise)
Wings of a Dove
Reconstruction Bounty
Just Two!
Once Upon a Time
Every Child
Once Upon a Time (reprise)
Ellen's Prayer (reprise)
Gone With The Wind (reprise)

When the musical opened, it contained two additional songs in Act II: "Abundantly Present" and "This Time". These, and several reprises, were cut in May 2008

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  Analyse d'un flop 

Quelques remarques

The musical's story is generally more faithful to the novel than the film, with Scarlett's three children appearing, unlike the film, which portrayed only Bonnie. One character not included on stage is Belle Watling, the prostitute. The slaves have a greater voice, especially Prissy, whose character is more dignified than in the film or novel, as she sings of finding her own way in the world and teaching others.

Reviews of the musical were generally negative. Critics found fault with the work's structure and score, stating "the large ensemble combines dialogue with passages of narration from the novel. The songs seem constantly to interrupt the proceedings rather than deepening or advancing the narrative." However, The Independent noted that "the score is enriched with spirituals, blues and gospel music, spine-tinglingly well-sung by such cast members as Natasha Yvette Williams's loveably sassy Mammy and Jina Burrows' Prissy." The Independent also praised Danesh and Paice: "The diabolically dashing Darius Danesh brings a seductively insolent charm, a dark velvet voice and a genuine, fugitive pathos to the cynical blockade runner. If Jill Paice hasn't quite nailed the comic, outrageously feline wiliness of Scarlett, she boasts the bright, soaring vocal quality to convey the heroine's indomitable survivor's drive." The Sunday Times wrote, "Frankly, I fear, you won't give a damn."


Versions du musical

Versions majeures de Gone with the wind

Version 1

Gone with the Wind (2008-04-New London Theatre-London) (Original)
Durée : 1 mois 3 semaines
Nombre : 79 représentations
Première Preview : samedi 05 avril 2008
Première : mardi 22 avril 2008
Dernière : samedi 14 juin 2008
Mise en scène : Trevor Nunn
Chorégraphie : David Bolger
Avec : Jill Paice (Scarlett O’Hara), Darius Danesh (Rhett Butler), Edward Baker-Duly (Ashley Wilkes), Madeleine Worral (Melanie Hamitlon), Natasha Yvette Williams (Mammy), Jina Burrows (Prissy), Susan Jane Tanner (Aunt Pittypat), Jeff Shankley (Dr Meade), Julian Forsyth, Susannah Fellows, Ray Shell.
Commentaires :
Based on the 1936 novel by Margaret Mitchell and the subsequent film–script, the epic “Gone with the Wind” had become one of the most popular and best-remembered stories of the 20th Century. Drawing on his experience with “Nicholas Nickleby” in 1980, Trevor Nunn used the same technique to cram the 1000 page novel into three and a half hours onstage: relying heavily on multiple narrators who rattle through the plot by interspersing dialogue with large chunks of narration straight from the novel. Accordingly, the songs seem constantly to interrupt the proceedings rather than deepening or adding to the story. The production included some tentative efforts at political correctness by supplying the slaves with some attractive gospel songs and spirituals and by turning Prissy (the lazy and stupid slave-girl from the film version) into a sanitised, witty would-be teacher. However, the film’s splendid epic quality is sorely missed - the much-remembered burning of Atlanta sequence is represented by some orange lights and the burning of a Confederate flag – and with 36 actors playing over 90 parts the show often becomes a blur of activity, some of it blundering and clumsy, and some of it moving so quickly that the audience could not keep up with the plot. There was praise for the performers and the design, but, all in all, it was felt to be a self-indulgent, prolonged vanity exercise for the composer and the director, and a painfully drawn out and tedious exercise for the audience. Although initially bookings were accepted up to the end of September, the show was finally withdrawn on June 14 th after 79 performances.
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Mais aussi, quelques versions régionales ou mineures, ... de Gone with the wind


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