The Gielgud Theatre London
Patrick Sharple asked:
The Gielgud Theatre, which opened Dec. 27, 1906, under the name of the Hicks Theatre, was built in honor of manager, actor, and playwright Seymour Hicks. The theatre, designed in Louis XVI style by W.G.R. Sprague, originally had 970 available seats, but currently has the capacity to hold 889 audience members on three levels. The Gielgud is located in Westminster, London, on Shaftesbury Avenue on the corner of Rupert Street. It is part of a pair of theatres, the other of which is the Queen’s Theatre, which opened on the adjacent street corner in 1907.
The first play shown at the Gielgud (at the time, the Hicks) Theatre was “The Beauty of Bath,” a musical by Hicks and Cosmo Hamilton, followed by “My Darling” in 1907 and the operetta “A Waltz Dream,” which ran in 1908. During the next show, 1909’s “The Dashing Little Duke,” when Ellaline Terriss, the actress playing the title role of a woman playing a man, fell ill, her husband took her place for several performances, effectively making him a man playing a woman playing a man. The theatre was renamed the Globe Theatre in 1909 when the name because available following the demolition of the theatre formerly holding the name. Several popular and noted shows ran at the theatre in the years following the name change, such as “Call It A Day” by Dodie Smith, which opened in 1935 and ran for 509 showings.
In 1966, “There’s a Girl in My Soup,” a show by Terence Frisby, opened and ran for a record 1,064 performances. This remained the record until “Daisy Pulls It Off” by Andrew Lloyd Webber broke it with 1,180 runs in 1983. This remains the record to this day. Other shows performed at the Gielgud Theatre between 1966 and the renovations made to the building in 1987 include Bill Owen’s “The Matchgirls”; “Design for Living” by Noël Coward; and the aforementioned “Daisy Pulls it Off.”
In 1987, the theatre underwent extensive renovations and careful attention was paid to perfecting the auditorium’s gold leaf design. The modern theatre is noted for its circular Regency staircase and the tower and oval gallery.
In 1994, the theatre was again renamed, as Shakespeare’s Globe Theatre had a planned 1997 opening and management wanted to avoid unnecessary confusion. It was renamed the Gielgud Theatre in honor of John Gielgud, a British actor. In 2003, it was announced that plans were being made for another major refurbishment of the building. Work began toward these renovations in 2006. The theatre will eventually have a joint entrance foyer shared with the Queen’s Theatre. Work began on the fascade of the theatre in March of 2007.
During the last 10 years, shows of note have included 2004’s “One Flew Over the Cuckoo’s Nest”; 2005’s “Some Girls,” which starred noted actors David Schwimmer and Catherine Tate; 2006’s RSC’s “The Canterbury Tales”; 2007’s “Macbeth” and “Equus”; and 2008’s “God of Carnage.” “Enjoy,” by Alan Bennett and starring Alison Steadman, will begin in 2009.
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The Gielgud Theatre, which opened Dec. 27, 1906, under the name of the Hicks Theatre, was built in honor of manager, actor, and playwright Seymour Hicks. The theatre, designed in Louis XVI style by W.G.R. Sprague, originally had 970 available seats, but currently has the capacity to hold 889 audience members on three levels. The Gielgud is located in Westminster, London, on Shaftesbury Avenue on the corner of Rupert Street. It is part of a pair of theatres, the other of which is the Queen’s Theatre, which opened on the adjacent street corner in 1907.
The first play shown at the Gielgud (at the time, the Hicks) Theatre was “The Beauty of Bath,” a musical by Hicks and Cosmo Hamilton, followed by “My Darling” in 1907 and the operetta “A Waltz Dream,” which ran in 1908. During the next show, 1909’s “The Dashing Little Duke,” when Ellaline Terriss, the actress playing the title role of a woman playing a man, fell ill, her husband took her place for several performances, effectively making him a man playing a woman playing a man. The theatre was renamed the Globe Theatre in 1909 when the name because available following the demolition of the theatre formerly holding the name. Several popular and noted shows ran at the theatre in the years following the name change, such as “Call It A Day” by Dodie Smith, which opened in 1935 and ran for 509 showings.
In 1966, “There’s a Girl in My Soup,” a show by Terence Frisby, opened and ran for a record 1,064 performances. This remained the record until “Daisy Pulls It Off” by Andrew Lloyd Webber broke it with 1,180 runs in 1983. This remains the record to this day. Other shows performed at the Gielgud Theatre between 1966 and the renovations made to the building in 1987 include Bill Owen’s “The Matchgirls”; “Design for Living” by Noël Coward; and the aforementioned “Daisy Pulls it Off.”
In 1987, the theatre underwent extensive renovations and careful attention was paid to perfecting the auditorium’s gold leaf design. The modern theatre is noted for its circular Regency staircase and the tower and oval gallery.
In 1994, the theatre was again renamed, as Shakespeare’s Globe Theatre had a planned 1997 opening and management wanted to avoid unnecessary confusion. It was renamed the Gielgud Theatre in honor of John Gielgud, a British actor. In 2003, it was announced that plans were being made for another major refurbishment of the building. Work began toward these renovations in 2006. The theatre will eventually have a joint entrance foyer shared with the Queen’s Theatre. Work began on the fascade of the theatre in March of 2007.
During the last 10 years, shows of note have included 2004’s “One Flew Over the Cuckoo’s Nest”; 2005’s “Some Girls,” which starred noted actors David Schwimmer and Catherine Tate; 2006’s RSC’s “The Canterbury Tales”; 2007’s “Macbeth” and “Equus”; and 2008’s “God of Carnage.” “Enjoy,” by Alan Bennett and starring Alison Steadman, will begin in 2009.
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Musicals Thriving in London’s West End
Andrew Regan asked:
There have been several high profile musical productions debuting in the West End recently to varying degrees of critical acclaim. But, regardless of whether the autumn openings continue their runs into 2008, musicals look set to dominate the West End box office over the next few years.
Prominent amongst the successful new shows unveiled recently include ‘Hairspray’. The musical opened in late October in London’s West End to rave reviews and has recently extended its run by seven months as a result. First opened on Broadway in August 2002 at the Simons Theatre where it is still playing to packed audiences this American import is now booking until 25th October 2008 at the Shaftesbury Theatre. West End veteran warbler Michael Ball stars as cross-dresser Edna Turnblad with comedian-turned-actor Mel Smith supporting as “her husband” Wilbur and newcomer Leanne Jones plays Tracy, their daughter. Following its success on Broadway, Hairspray has been made into a Hollywood feature film starring John Travolta.
Indeed, productions based on films, or vice-versa, appear to be all the rage in the West End. Dirty Dancing, another recent addition to the West End theatres, has also extended its booking period until April 2009, after a successful opening in late October. Writer of the film’s screenplay Eleanor Bergstein used her own childhood experiences of holidaying with her family in the Catskills in the USA as the basis of the story and has successfully adapted it for this stage production. Josef Brown, who played the lead in the Australian production of 2004, stars as Johnny joined by Sarah Manton as Baby.
Another former film now gracing the West End stage ‘Desperately seeking Susan’, which originally starred Madonna and Rosanna Arquette in the celluloid version, is not doing quite so well in the stage adaptation that features the music of Blondie. The production recently premiered at the Novello Theatre and is currently booking until mid-April 2008, although judging by the unfavourable reviews it may ultimately record a shorter run that that.
Conversely, Grease is taking the West End by storm. Originally a 70’s film musical starring John Travolta and Olivia Newton-John, this production has made a successful transition to the West End stage and looks set to enjoy a long run until the end of the decade.
As well as modern musicals, classics such as Andrew Lloyd-Webber’s Joseph have undergone a successful revival thanks to the BBC talent show ‘Any dream will do’ which has given 26-year-old winner Lee Mead the starring role in his West End debut. That must be one of the best theatre breaks for a young actor since the last BBC talent winner Connie Fisher captured the lead role of Maria in the Sound of Music!
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There have been several high profile musical productions debuting in the West End recently to varying degrees of critical acclaim. But, regardless of whether the autumn openings continue their runs into 2008, musicals look set to dominate the West End box office over the next few years.
Prominent amongst the successful new shows unveiled recently include ‘Hairspray’. The musical opened in late October in London’s West End to rave reviews and has recently extended its run by seven months as a result. First opened on Broadway in August 2002 at the Simons Theatre where it is still playing to packed audiences this American import is now booking until 25th October 2008 at the Shaftesbury Theatre. West End veteran warbler Michael Ball stars as cross-dresser Edna Turnblad with comedian-turned-actor Mel Smith supporting as “her husband” Wilbur and newcomer Leanne Jones plays Tracy, their daughter. Following its success on Broadway, Hairspray has been made into a Hollywood feature film starring John Travolta.
Indeed, productions based on films, or vice-versa, appear to be all the rage in the West End. Dirty Dancing, another recent addition to the West End theatres, has also extended its booking period until April 2009, after a successful opening in late October. Writer of the film’s screenplay Eleanor Bergstein used her own childhood experiences of holidaying with her family in the Catskills in the USA as the basis of the story and has successfully adapted it for this stage production. Josef Brown, who played the lead in the Australian production of 2004, stars as Johnny joined by Sarah Manton as Baby.
Another former film now gracing the West End stage ‘Desperately seeking Susan’, which originally starred Madonna and Rosanna Arquette in the celluloid version, is not doing quite so well in the stage adaptation that features the music of Blondie. The production recently premiered at the Novello Theatre and is currently booking until mid-April 2008, although judging by the unfavourable reviews it may ultimately record a shorter run that that.
Conversely, Grease is taking the West End by storm. Originally a 70’s film musical starring John Travolta and Olivia Newton-John, this production has made a successful transition to the West End stage and looks set to enjoy a long run until the end of the decade.
As well as modern musicals, classics such as Andrew Lloyd-Webber’s Joseph have undergone a successful revival thanks to the BBC talent show ‘Any dream will do’ which has given 26-year-old winner Lee Mead the starring role in his West End debut. That must be one of the best theatre breaks for a young actor since the last BBC talent winner Connie Fisher captured the lead role of Maria in the Sound of Music!
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How Does Theatrical Makeup Differ From TV Makeup?
Mike J Jones asked:
Makeup is actually characterized by the use of chemically active products. These products are used by theatre and TV artists in order to enhance their beauty and to conceal the minor defects which may prevent them from looking the most beautiful people. Beauty is the most dominant factor for the people of media, and the TV and theatre artists are relatively more concerned regarding their beauty.
Theatrical cosmetic is different from the TV makeup in a number of ways. Theatrical makeup is more concerned with the role or character of the artist. It aims to compliment the particular character depicted by the play so that the concept is easily conveyed to the audience through the proper use of cosmetic.
On the other hand, TV makeup is quite different from theatre makeup. The major concern of the TV makeup is to make the artists more attractive and presentable. However, the effects can be created in the TV screen which has the ability to hide a number of defects, and it can project new effect as well. However, theatre lacks the technical capabilities which the TV camera possesses.
The theatre cosmetic differs from the TV makeup as it is presented through a live performance on the stage, thus lacking all the technical tricks which are performed through a TV camera. The theatre makeup should be such that it can be easily visible to all the audience. TV makeup, whether light or dark, can be seen with the help of camera techniques.
Lighting is also another main factor which makes the theatre cosmetic different from the TV makeup. The lighting on stage is comparatively lesser than that of the TV screen. The theatre makeup is aimed to become visible to the live audience. Due to the presence of multiple lights, the makeup appears to be dull or nearly washed out. In order to overcome the lighting factor, the theatre makeup usually comprises of vibrant colours so that they may become visible to the far seated audience as well. Theatre cosmetic is a very important factor in enhancing the character and conveying the idea to the live audience.
While TV makeup does not requires brighter colours as the colours and makeup appears quite natural and perfect on the screen. TV camera has specialised techniques which help the artists in making them more attractive and beautiful. TV artists have to worry less about their beauty and appearance because of the available technical facilities.
Generally, the theatre makeup is marked by strong eye makeup, a brighter shade of lipstick, and vibrant colour on the cheeks. TV makeup characterises lighter shades as compared to the theatre makeup.
The theatre makeup is relatively harder to do than TV makeup. It is difficult to carry the makeup throughout the acts. Theatre artists have no time to check their makeup during several acts. Theatre makeup demands more perfection and ability to be held for long hours. Usually, theatre artists do not get enough time to go backstage and freshen up their makeup. On the other hand, TV artists get lot of time to be touched up during different shots.
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Makeup is actually characterized by the use of chemically active products. These products are used by theatre and TV artists in order to enhance their beauty and to conceal the minor defects which may prevent them from looking the most beautiful people. Beauty is the most dominant factor for the people of media, and the TV and theatre artists are relatively more concerned regarding their beauty.
Theatrical cosmetic is different from the TV makeup in a number of ways. Theatrical makeup is more concerned with the role or character of the artist. It aims to compliment the particular character depicted by the play so that the concept is easily conveyed to the audience through the proper use of cosmetic.
On the other hand, TV makeup is quite different from theatre makeup. The major concern of the TV makeup is to make the artists more attractive and presentable. However, the effects can be created in the TV screen which has the ability to hide a number of defects, and it can project new effect as well. However, theatre lacks the technical capabilities which the TV camera possesses.
The theatre cosmetic differs from the TV makeup as it is presented through a live performance on the stage, thus lacking all the technical tricks which are performed through a TV camera. The theatre makeup should be such that it can be easily visible to all the audience. TV makeup, whether light or dark, can be seen with the help of camera techniques.
Lighting is also another main factor which makes the theatre cosmetic different from the TV makeup. The lighting on stage is comparatively lesser than that of the TV screen. The theatre makeup is aimed to become visible to the live audience. Due to the presence of multiple lights, the makeup appears to be dull or nearly washed out. In order to overcome the lighting factor, the theatre makeup usually comprises of vibrant colours so that they may become visible to the far seated audience as well. Theatre cosmetic is a very important factor in enhancing the character and conveying the idea to the live audience.
While TV makeup does not requires brighter colours as the colours and makeup appears quite natural and perfect on the screen. TV camera has specialised techniques which help the artists in making them more attractive and beautiful. TV artists have to worry less about their beauty and appearance because of the available technical facilities.
Generally, the theatre makeup is marked by strong eye makeup, a brighter shade of lipstick, and vibrant colour on the cheeks. TV makeup characterises lighter shades as compared to the theatre makeup.
The theatre makeup is relatively harder to do than TV makeup. It is difficult to carry the makeup throughout the acts. Theatre artists have no time to check their makeup during several acts. Theatre makeup demands more perfection and ability to be held for long hours. Usually, theatre artists do not get enough time to go backstage and freshen up their makeup. On the other hand, TV artists get lot of time to be touched up during different shots.
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Spamalot – The Monty Python West End Musical
Andrew Regan asked:
Spamalot, a musical comedy, “lovingly ripped off” from the classic ‘Monty Python and the Holy Grail’ film is a must-see for anyone with an appreciation for the film or West End Theatre productions. The adaptation, directed by Oscar winning director Mike Nichols (The Graduate, Charlie Wilson’s War) premiered on Broadway in February 2005 and made its way over to London’s West End in September 2006, becoming both a critical and financial success.
In addition to ‘The Holy Grail’, Spamalot makes many references to other material in the Python canon, including “The Lumberjack Song”, the Ministry of Silly Walks and Dead Parrot Sketch routines, along with a rendition of the song “Always Look on the Bright Side of Life” from the film ‘Monty Python’s Life of Brian’ to name but a few.
Other Broadway works get a nod too, including “The Song That Goes Like This”, a spoof of Andrew Lloyd Webber productions and Broadway power ballads in general; the knights doing dances reminiscent of ‘Fiddler on the Roof’ and ‘West Side Story’ and the song “You Won’t Succeed (On Broadway)” in parody of ‘The Producers’ and ‘Yentl’.
In April 2007, the cast from the London production and original Python members Terry Jones and Terry Gilliam joined a crowd in Trafalgar Square to become the largest group of people ever to clap together half coconut shells; 5,567 in all, performing a rendition of “Always Look on the Bright Side of Life”, using the coconut shells to replace the whistle parts. This was part of London’s St George’s Day celebrations last year and was followed by a screening of ‘Monty Python and the Holy Grail’.
Also last year, it was announced that the London production would solve the problem of replacing Hannah Waddingham, who’s joining the Broadway production, in her role as the Lady of the Lake through a TV talent show in Sweden. The programme, called ‘West End Star’, began airing on Swedish TV channel TV3 last month, with the aim of announcing the winner on 2 February and the winner joining the rest of the cast the following week.
Ultimately the show should appeal to everyone, whether you’re a fan of Python or West End theatre, making Spamalot an ideal production to see with friends or family during London theatre breaks. As Charles Spencer from The Daily Telegraph put it, “It’s a wonderful night and I fart in the general direction of anyone who says otherwise”.
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Spamalot, a musical comedy, “lovingly ripped off” from the classic ‘Monty Python and the Holy Grail’ film is a must-see for anyone with an appreciation for the film or West End Theatre productions. The adaptation, directed by Oscar winning director Mike Nichols (The Graduate, Charlie Wilson’s War) premiered on Broadway in February 2005 and made its way over to London’s West End in September 2006, becoming both a critical and financial success.
In addition to ‘The Holy Grail’, Spamalot makes many references to other material in the Python canon, including “The Lumberjack Song”, the Ministry of Silly Walks and Dead Parrot Sketch routines, along with a rendition of the song “Always Look on the Bright Side of Life” from the film ‘Monty Python’s Life of Brian’ to name but a few.
Other Broadway works get a nod too, including “The Song That Goes Like This”, a spoof of Andrew Lloyd Webber productions and Broadway power ballads in general; the knights doing dances reminiscent of ‘Fiddler on the Roof’ and ‘West Side Story’ and the song “You Won’t Succeed (On Broadway)” in parody of ‘The Producers’ and ‘Yentl’.
In April 2007, the cast from the London production and original Python members Terry Jones and Terry Gilliam joined a crowd in Trafalgar Square to become the largest group of people ever to clap together half coconut shells; 5,567 in all, performing a rendition of “Always Look on the Bright Side of Life”, using the coconut shells to replace the whistle parts. This was part of London’s St George’s Day celebrations last year and was followed by a screening of ‘Monty Python and the Holy Grail’.
Also last year, it was announced that the London production would solve the problem of replacing Hannah Waddingham, who’s joining the Broadway production, in her role as the Lady of the Lake through a TV talent show in Sweden. The programme, called ‘West End Star’, began airing on Swedish TV channel TV3 last month, with the aim of announcing the winner on 2 February and the winner joining the rest of the cast the following week.
Ultimately the show should appeal to everyone, whether you’re a fan of Python or West End theatre, making Spamalot an ideal production to see with friends or family during London theatre breaks. As Charles Spencer from The Daily Telegraph put it, “It’s a wonderful night and I fart in the general direction of anyone who says otherwise”.
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Broadway Show Tunes
Peter Gitundu asked:
What would a musical be without the fantastic Broadway show tunes that go along with it? The tunes are what heighten the excitement of the show and bring more life into it. They are the ones that will be constantly playing in your head long after the show is over. It will also be very easy to remember the show by referring to the song.
For some reason if you are not able to hear Broadway show tunes during the show, then you have the option of buying an album from shops that specifically deal with these tunes. There are also albums that have compiled music based on a particular thesis. You can also buy these albums in the theatres themselves.
The advantage of buying an album of Broadway show tunes is that you get to listen to it any time you want. For the young ones, get them an album for Disney on musicals for them to enjoy as well. Music is known to help children sleep and maybe playing for them some tunes will help put them to sleep.
The best advice that I can give is that you try and listen to a particular tune during the show before you get the album; this is a sure way for you to always remember what show that tune went along with and at what part of the show it was played. The theaters play these tunes form a section in the theatre specifically used for auditory purposes. This is why the tunes are so crisp and clear.
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What would a musical be without the fantastic Broadway show tunes that go along with it? The tunes are what heighten the excitement of the show and bring more life into it. They are the ones that will be constantly playing in your head long after the show is over. It will also be very easy to remember the show by referring to the song.
For some reason if you are not able to hear Broadway show tunes during the show, then you have the option of buying an album from shops that specifically deal with these tunes. There are also albums that have compiled music based on a particular thesis. You can also buy these albums in the theatres themselves.
The advantage of buying an album of Broadway show tunes is that you get to listen to it any time you want. For the young ones, get them an album for Disney on musicals for them to enjoy as well. Music is known to help children sleep and maybe playing for them some tunes will help put them to sleep.
The best advice that I can give is that you try and listen to a particular tune during the show before you get the album; this is a sure way for you to always remember what show that tune went along with and at what part of the show it was played. The theaters play these tunes form a section in the theatre specifically used for auditory purposes. This is why the tunes are so crisp and clear.
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Categories: Performing Arts Tags: Broadway Show Tunes, Disney, Excitement, Musicals, Sleep, Theaters, Thesis, Young Ones