The Pajama Game George Abbott / Richard Bissell Richard Adler / Jerry Ross Opéra De Lyon Opéra

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The Pajama Game George Abbott / Richard Bissell Richard Adler / Jerry Ross Opéra De Lyon Opéra Direction musicale, Mise en scène Comédie arrangements et percussions Jean Lacornerie musicale Gérard Lecointe et Raphaël Cottin 14 décembre → 18 décembre 2021 The Pajama Game George Abbott / Richard Bissell Richard Adler / Jerry Ross opéra de Lyon Opéra Direction musicale, Mabel arrangements Cloe et percussions Horry The Pajama Gérard Mae Lecointe Mathilde Mise en scène Lemonnier Jean Lacornerie Charlie Game et Raphaël Cottin Pierre Scénographie Lecomte George Abbott / Richard Bissell Marc Lainé Brenda et Stephan Marianne Richard Adler / Jerry Ross Zimmerli Devos Lumières Prez Comédie musicale David Alexis Debrinay Meriaux 1954 (St. James Theatre de New York) Livret de George Abbott et Richard Bissell Costumes Poopsie Musique et chansons de Richard Adler et Jerry Ross Marion Marie basé sur le roman de 71/2 Cents Benagès Glorieux The Pajama Game est présenté en accord avec Music Theatre — Gladys International (Europe) (mtishows. co. uk) et l’Agence Drama – Paris Sid Amelie (dramaparis.com) Vincent Munier Coproduction Théâtre de la Croix-Rousse – Lyon, Théâtre Heden Piano Sébastien de La Renaissance – Oullins Lyon Métropole, Angers Nantes Opéra, Babe Dalia Jaudon Mahagonny-cie. Constantin Contrebasse Hines Daniel Romero Zacharie L’idée de transformer 7 ½ Cents, la nouvelle de Saal Richard Bissell publiée en 1953, en comédie musicale est apportée à Abbott par ses assistants, Harold Au Théâtre de La Renaissance Prince et Robert E. Griffith. Abbott refuse d’abord de – Oullins mettre en scène le projet mais se ravise lorsqu’il en Décembre Vendredi 17 trouve le titre : The Pajama Game. – 20h 2021 Avant qu’ils ne s’attaquent à The Pajama Game, Adler Samedi 18 Mardi 14 – 19h et Ross avaient écrit les chansons d’une seule revue, – 20h John Murray Anderson’s Almanac, en 1953. Lœsser Jeudi 16 avait décelé le potentiel de ce duo qui savait – 20h concocter des tubes et dont la particularité était que Durée : Langue : chacun se chargeait, tour à tour ou ensemble, 2h sans En français entracte et en anglais, des lyrics ou de la musique. Jerome Robbins préfère surtitré en français assurer la mise en scène du spectacle avec Abbott et Âge propose donc son assistant, Bob Fosse, pour le Dès 14 ans chorégraphier. Et enfin, Abbott demande à Richard Bissell – dont l’ouvrage 7 ½ Cents raconte l’histoire de son entreprise familiale, une manufacture de pyjamas – de coécrire le livret avec lui. De toute cette fine équipe, seul Abbott a de l’expérience. Adler et Ross n’ont jamais écrit de musical, Robbins n’a pas encore été metteur en scène, Bob Fosse signe sa première chorégraphie et Prince et Griffith n’ont pas la moindre expérience de producteurs. Et pourtant… Photographie : © Pascal Aimar / Tendance Floue Design : ABM Studio Saison 2021-2022 opéra Opéra George Abbott et ses Le musical fait sa première protégés le 13 mai 1954 et c’est un succès George Abbott (1887-1995) dès le premier week-end était un homme qui avait du flair… d’exploitation. Prince et Griffith Ce metteur en scène si brillant ont réussi leur pari et reformeront et à la longue carrière de plus de à peu près la même équipe – soixante-dix saisons s’était déjà sans Jerome Robbins – un an pris d’amitié pour les « gamins » plus tard pour Damn Yankees (surnom qu’il leur avait donné) (mai 1955). Les deux spectacles de On the Town (1944) : Leonard dépasseront les mille Bernstein, Jerome Robbins, représentations. Betty Comden et Adolph Green. Jean Lacornerie, a bien compris C’est Frank Lœsser (compositeur la portée sociale de l’œuvre et lyricist du formidable Guys and et, nonobstant un indéniable Dolls en 1950) qui, ne souhaitant comique de situations, il se réjouit pas s’associer au « 7½ Project », de la galerie de portraits que proposa à Abbott une nouvelle le livret permet de dévoiler. équipe de talents : Richard Adler Il souligne, à juste titre, que et Jerry Ross. les personnages ont « une énergie salvatrice qui entre Le plus grand succès de en résonnance avec nos l’année 1954 à Broadway préoccupations d’aujourd’hui ». Bissell et Abbott mettent l’accent Gérard Lecointe, souhaite créer sur deux histoires d’amour afin un trio instrumental et « enrichir qu’on ne prenne pas le spectacle les sonorités de ce combo par le pour un plaidoyer communiste jeu instrumental des chanteurs », en plein maccarthysme ; tout en respectant l’esprit des ouvrières syndiquées de la partition originale… demandant une augmentation et se mettant en grève et un patron malhonnête qui tient une double comptabilité aurait pu paraître un peu trop révolutionnaire ! Contact : Opéra de Lyon Chloé Podraza Communication médias : Place de la Comédie Directeur général Chargée des relations médias Pierre Collet BP 1219 Saison et artistique : +33 (0)6 80 82 29 92 +33 (0)1 40 26 35 26 69 203 Lyon cedex 01 2021-2022 Richard Brunel [email protected] [email protected] France.
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