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Aldwych Theatre - Londres - Angleterre


Mahler's Conversion deals with a professional and moral dilemma of anti-semitism. Gustav Mahler (1860-1911) desperately wants to secure the top job in the musical world of Vienna, conductor of the Court Opera. But Mahler is a Jew, and to achieve his ambition, he must convert to Catholicism. He may be willing, but there's a bigger price to pay.


Première Preview: mercredi 19 septembre 2001
Première: mardi 02 octobre 2001
Dernière: samedi 03 novembre 2001



Mise en scène:
Gregory Doran
Antony Sher (Gustav Mahler), Gary Waldhorn, Nickolas Grace, Anna Francolini, Fiona Glascott, Alexandra Mathie



Ronald Harwood’s new play has not been well received by the popular press….
BENEDICT NIGHTINGALE for THE TIMES says, “Ronald Harwood's incomplete portrait of the composer leaves some unconvinced.”

CHARLES SPENCER for THE DAILY TELEGRAPH says, “The writing is flat and clumsy; the exposition creaks like a warped door with rusty hinges; the supporting characters, and even Mahler himself, stubbornly refuse to come to life. Above all, there is no real need for this play to take place in a theatre.”

PETER HEPPLE for THE STAGE says,” Gregory Doran achieves a swirling production almost more suited to an epic rather than a play which remains obstinately domestic..”

MICHAEL BILLINGTON for THE GUARDIAN says, “Even if it is a disappointing … it gives Antony Sher the chance to add to his gallery of tortured artists. His Mahler is plausibly arrogant, egotistical, driven and nail biting.”

SUSANNAH CLAPP for THE OBSERVER says, “Ronald Harwood's dreadful new play makes about every mistake it's possible to commit in the prone-to-cliché process of dramatising a musician's life.”

PAUL TAYLOR for THE INDEPENDENT says, “As Mahler, Antony Sher begins as a cartoon of the genius played as frustrated force of nature and ends as a caricature of the genius as a lonely, broken and emasculated titan.”

NICHOLAS DE JONGH for THER EVENING STANDARD says, “The play itself is a plodding chronicle piece in about 12 scenes. Its tone is suspect….”

MICHAEL COVENEY for THE DAILY MAIL says, “The idea runs ahead of a muddled and deeply unsatisfactory evening, fleshed out with musical extracts (not enough, alas) and a characteristically fraught 'outsider' performance from Sir Antony.”

SHERIDAN MORLEY for TELETEXT says, "Like in so many other plays, Harwood wonders how a great artist can be such an appalling human being, but this time it's hard to care. Despite Antony Sher's mesmeric performance, we are given little reason to care."

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