Topologie du théâtre

Nombre de places: 2262
Nombre de balcons: 4

Accès

En métro: Covent Garden
En bus: 1, 4, 6, 9, 11, 13, 15, 23, 26, 68, 76, 77a, 91, 168, 171, 176, 188, 501 (southbound only), 505, 521, X68
Adresse: Bow Street, Covent Garden, London WC2E 9DD

Evolution

Bâtiment: 1731. First theatre designed by Edward Shepherd for John Rich / 1791. Theatre modernized by Henry Holland for Thomas Harris / 1808. Building burnt down. Sir Robert Smirke designs new theatre / 1847. Theatre reopens following its remodelling by Benedict Albano / 1856. Building burnt down. Rebuilt by architect Edward M. Barry to reopen 1858 / 1900. Edwin O. Sachs modernizes and rebuilds the backstage area / 1999. Following complete restoration of historic fabric and partial rebuilding, the Royal Opera House reopens on 4 December / Statutorily Listed Historic Building: Grade I. Floral Hall Listed Grade II
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Remarquable:

The premier opera house in Great Britain. Architecturally distinguished both as an historic building and as a world-class arts venue.

 

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Vous trouverez ci-dessous une liste la plus complète possible des spectacles joués dans ce théâtre. Nous y avons mentionné tous les 'musicals' connus de nous, ainsi que d'autres formes de spectacle (théâtre, danse, ...) s'ils nous semblent avoir marqué l'histoire du théâtre.

Prochainement

Spectacle(s) actuel(s)

Anciens spectacles

Sweeney Todd (Revival)
Joué durant  1 mois

  (9 représentations)

Première preview: lun 15 décembre 2003
Première: lun 15 décembre 2003
Dernière: mer 14 janvier 2004


Metteur en scène:
Neil Armfield •  
Chorégraphe:
 
Avec:

Thomas Allen (Sweeney Todd), Felicity Palmer (Mrs Lovett), William Dazely (Anthony), Jonathan Veira (Judge Turpin), Rebecca Evans (Joanna), Doug Jones (Tobias), Bonaventura Bottone (Pirelli), Rosalind Plowright (Beggar Woman), Robert Tear (Beadle) 

Commentaire:

This production originated at the Lyric Opera House Chicago where its performance was accepted without question. When it came to Covent Garden it was subject to much discussion. Was it an “opera” or a “musical”? Did it really belong in the Opera House? Did it work when performed by proper opera singers rather than musical theatre actors? Did it really need the radio microphones that were used? And, since it was sung in English, why did the production use sur-tities? The critics mused and differed on all these questions, but were almost unanimous in agreeing that the score, with a 50 piece orchestra, conducted by the legendary Paul Gemignani, would probably never be better performed. The physical production was a bit sparse, and the opera chorus occasionally looked uncomfortable when required to “act” - but, all in all, this was regarded as a feather in the cap of the Royal Opera (even if not quite as glorious a feather as the recent Opera North version at Sadler’s Wells.)  (plus) 

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