| or Call: 250.744.4357

Tweet Me!

Bernarda Alba ()

Mitzi E. Newhouse Theatre
New-York - Etats-Unis

06/03/2006 > 09/04/2006

Détails de cette production  


Mitzi E. Newhouse Theatre - New-York - Etats-Unis


Première Preview: samedi 11 février 2006
Première: lundi 06 mars 2006
Dernière: dimanche 09 avril 2006



Mise en scène:
Graciela Daniele
Graciela Daniele


For a show so dark-spirited, Bernarda Alba is remarkably lively, thanks largely to the extraordinary actors, marshaled with flair by Daniele through her trademark blend of movement and dance.



Multimedia on-line de cette production





 Pas encore de video disponible pour ce spectacle


CD de cette production

2006-03-Original Off-Broadway Cast

Date de sortie:
Type de CD:
Stage Cast •
Nombre de CD:
1 pour un total de 18 tracks
Yolande Bavan, Judy Blazer, Candy Buckley, Nikki M. James, Sally Murphy, Phylicia Rashād, Daphne Rubin-Vega, Saundra Santiago, Laura Shoop, Nancy Ticotin
01. Prologue
02. The Funeral
03. On The Day That I Marry / Bernarda's Prayer
04. Love, Let Me Sing You
05. Let Me Go To The Sea
06. Magdalena
07. Angustias
08. Amelia
09. Martirio
10. Adela
11. I Will Dream Of What I Saw
12. Poncia
13. Limbrada's Daughter
14. One Moorish Girl / The Smallest Stream
15. The Mare And The Stallion
16. Lullaby
17. Open The Door
18. Finale
While stage musical styles range from comedy to tragedy, many casual fans will be more familiar with the former style. For those souls, the air of tragedy that runs through Bernarda Alba will be suffocating: this is a dark musical that begins and ends tragically. Based on The House of Bernarda Alba by Federico García Lorca, the play has been converted to musical status by Michael John LaChiusa. LaChiusa is known for works such as First Lady Suite and Marie Christine, musicals that concentrate on women's lives. In this sense, Bernarda Alba follows suit. After the death of her cheating husband, Alba is determined to protect her five daughters from other unscrupulous men; indeed, from all men. Add to this volatile mix a senile mother and a suitor who is attached to one daughter but also loved by the other four, and you have a situation ripe for emotive songs. The able cast is headed by Phylicia Rashad as Alba and filled out by Sandra Santiago, Judith Blazer, Sally Murphy, Daphne Rubin-Vega, and Nikki M. James as the sisters. The music exploits the Spanish setting, though becomes, thanks to the overall dark mood, overpowering by the tragic close. Fans of the musical will certainly want a copy of the soundtrack. ~ Ronnie D. Lankford, Jr., Rovi All Music Guide


D'autres versions de cette oeuvre

Version 1

Mitzi E. Newhouse Theatre à New-York (Original)
Durée : 1 mois
Nombre :
Première Preview : sam 11 février 2006
Première : lun 06 mars 2006
Dernière : dim 09 avril 2006
Mise en scène : Graciela Daniele
Chorégraphie : Graciela Daniele
Avec :
Commentaires :
En savoir plus sur cette version

Version 2

BoHo Theatre à Chicago (Revival)
Durée : 1 mois 1 semaine
Nombre :
Première Preview : Inconnu
Première : ven 10 octobre 2008
Dernière : dim 16 novembre 2008
Mise en scène : Elizabeth Margolius
Chorégraphie : ???? ????
Avec :
Commentaires :
En savoir plus sur cette version

Version 3

Union Theatre à Londres (Original London)
Durée : 3 semaines
Nombre :
Première Preview : mar 23 août 2011
Première : jeu 25 août 2011
Dernière : sam 17 septembre 2011
Mise en scène : Katherine Hare
Chorégraphie : Racky Plews
Avec : Beverley Klein (Bernarda Alba), Amelia Adams-Pearce (Adela), Suanne Braun (Servant/Prudencia), Maria Coyne (Young Maid), Soophia Foroughi (Magdalena), Emily-Jane Morris (Amelia), Ellen O'Grady (Poncia), Fiona Sinnott (Angustias), Buster Skeggs (Maria Josepha) Rebecca Trehearn (Martirio).
Commentaires : This is a one-act “chamber-musical” based on the 1936 play “The House of Bernarda Alba” by Federico Garcia Lorca. It premiered off-Broadway in March 2006, winning several awards, and leading to an original cast recording. Its operatic style was a fusion of “flamenco, hand-clapping and finger-clicking punctuated with yelps, wavering sustained notes in minor keys, labyrinthine interior musical paths, and eruptions into anti-melodic harshness” . Critical reaction fell neatly into two distinct camps: those who rose to the challenge of LaChiusa’s experimentation, and those who hated his “arty gloominess”.
En savoir plus sur cette version