In a sunny, happy, optimistic and often absurd 1954, Timothy and Jane graduate from University. Under pressure from their parents they have to find a job and a husband, respectively. Timothy's family send him off to meet a series of influential and increasingly eccentric uncles, while Jane's mother lines up a series of eligible but dull potential husbands. A chance meeting with a tramp brings the couple together as his street piano - named Minnie - gives everyone an irresistible and unstoppable urge to dance. The tramp gives Timothy the job of looking after the piano for a month. Once the month is over and after all kinds of wonderful adventures - including a ride in a flying saucer - Minnie the piano is passed on to a new couple and Timothy and Jane's families are reconciled.Synopsis complet
The musical was first staged for three weeks at the Bristol Old Vic. It had an extremely long run in the West End and was later staged at the Crest Theatre, Toronto - a production which transferred to New York, where it managed a short run of just 80 performances.
1 Salad Days peut-être considéré comme un Top musical
Génèse du musical
Salad Days premiered in the UK at the Theatre Royal, Bristol in June 1954, and transferred to the Vaudeville Theatre in London on 5 August 1954, running for 2,283 performances to become the longest-running show in musical theatre history until overtaken by My Fair Lady in the U.S. (1956) and Oliver! In the U.K. (1960). In the Evening Standard Awards for 1955, Salad Days was given the Award for Most Enjoyable Show (although The Pajama Game won as Best Musical). The musical was produced by Denis Carey, with dances arranged by Elizabeth West, and with a cast that featured Dorothy Reynolds in a variety of roles, John Warner as Timothy and Eleanor Drew as Jane. Slade played one of the two pianos. The reviewer in The Guardian wrote: "There is no pointed satire, only a passable line of wit, but the effect is one of genuine high spirits and those who liked it on Thursday were ready to call it the gayest piece of entertainment since The Mikado. Others were heard to compare it to a children's party, meaning that they found the fun jejune, 'undergraduate,' and limited."
The Canadian premiere of Salad Days in 1956 was at the Hart House Theatre, University of Toronto for several months with Barry Morse as director and Alan Lund as choreographer. The show transferred to the Royal Alexandra Theatre and then to Her Majesty's Theatre in Montreal. Morse wrote that it played "successfully" and was "again a triumph". Morse revived the production at the Crest Theatre, Toronto and then brought it to New York. The New York production, featuring Richard Easton, opened at the Barbizon Plaza Theatre (then located at Avenue of the Americas and 58th Street) on November 10, 1958 and ran for 80 performances. Morse described the theatre as "not a Broadway theatre … a perfectly comfortable and centrally situated theatre which was housed in a hotel." He further wrote "as rotten luck would have it there was a newspaper strike which started just a few days before we opened." There were no reviews, and the show closed in January 1959 when, according to Morse, "our financial resources were used up."
The show was revived in the West End in April 1976 at The Duke of York's Theatre, running for 133 performances, and featured Elizabeth Seal. Salad Days was next revived in April 1996 at London's Vaudeville Theatre, directed by Ned Sherrin and featuring Simon Connolly, Nicola Fulljames and Richard Sisson. In his review for The Guardian, Michael Billington wrote: "Time has also changed both the show and our attitude towards it. What seemed hopelessly innocent in 1954 has now acquired the patina of camp."
The show received a new production by Tête à Tête opera company, directed by Bill Bankes-Jones, originally produced in November 2009 at Riverside Studios in London, and revived for over two months in 2010–2011. That revival was a sell-out and the production is revived again for Christmas & New Year 2012-13 at Riverside Studios
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The title is taken from William Shakespeare's Antony and Cleopatra: "My salad days, When I was green in judgment, cold in blood, To say as I said then!", and the phrase has come to be used generally to refer to one's days of youthful inexperience. The musical's enduring popularity lies in its light-hearted innocence and apparent simplicity, in sharp contrast to the many "hard-nosed" American musicals of the era, and its bright score including the songs "We Said We Wouldn't Look Back", "I Sit in the Sun", and "We're Looking for a Piano".
The musical was parodied, in a particularly bloody manner, by Monty Python in their skit Sam Peckinpah's "Salad Days".
Versions majeures de Salad Days
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