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1954-10-Original London CastStars:Date de sortie:1954-10-??Type de CD:Stage Cast •Nombre de CD:1 pour un total de 28 tracksArtistes:Eve Ashley, Ernest Ball, George Ballantyne, Victor Baring, Vincent Charles, Alan Gabriel, George Gee, Gloria George, Irene Hilda, Charles Hill, Edmund Hockridge, Richard Laurence, Gillian Lynne, Alfred Marks, Warren Mitchell, George Pastell (3), Joy TurpinTracks:Wedding in Paris
01. Overture/A Wedding In Paris - Susan Swinford
02. Always Young - Anton Walbrook
03. It Only Took A Moment - Jeff Warren
04. I Have Nothing To Declare - Jeff Warren
05. A Man Is A Man - Evelyn Laye
06. I Must Have Been Crazy - Jeff Warren
07. Strike Another Match - Anton Walbrook
08. In The Pink - Evelyn Laye
09. Selection From 'Wedding In Paris' Part 1 - The Theatre Orchestra
10. Selection From 'Wedding In Paris' Part 2 - The Theatre Orchestra
11. Overture/Maidens Typical Of France - The Laundresses
12. Never Give Anything Away - Irene Hilda
13. C'est Manifique - Edmund Hockridge
14. Come Along With Me - George Gee
15. Live And Let Live - Irene Hilda
16. I Am In Love - Edmund Hockridge
17. If You Loved Me Truly - Original London Cast
18. Montmart' - Original London Cast
19. Allez-Vous En, Go Away - Irene Hilda
20. Never, Never Be An Artist - Original London Cast
21. It's All Right With Me - Edmund Hockridge
22. I Love Paris - Irene Hilda
23. Can-Can - The Laundresses
24. Bonus Track: La Ronde De L'Amour - Anton Walbrook
25. Bonus Track: I Left My Heart In An English Garden - Edmund Hockridge
26. Bonus Track: My Boy Bill - Edmund Hockridge
27. Bonus Track: My Little Girl - Edmund Hockridge
28. Bonus Track: Bang You're Dead - Edmund HockridgeCommentaires:At first glance, the musicals Wedding in Paris and Can-Can seem to share one characteristic that makes them an appropriate pairing on a single CD: Paris. Actually, however, while Can-Can, with a score by Cole Porter, is set in Paris, Wedding in Paris, which features songs by composer Hans May and lyricist Sonny Miller, takes place on a liner crossing the Atlantic to France. The more important factor that the two shows have in common is that both were produced in London in 1954, Can-Can following a successful Broadway opening, while Wedding in Paris originated in the West End. The date is especially important because, 50 years later, the original London cast recordings for the two shows fell out of copyright in Europe, and Sepia Records stepped in quickly to assemble this unlicensed reissue. As Rexton S. Bunnett acknowledges in his liner notes, only half of the score of Wedding in Paris was recorded, eight tracks with a running time of less than 27 minutes. The British Can-Can had all of its principal songs put on disc, but in abbreviated form; its 13 tracks here clock in at just over 29 minutes. (The CD is filled out to 78 minutes by including medleys of the music from Wedding in Paris and a few stray singles by performers from the casts.) There are also certain musical similarities that make the two sets of recordings a good match. May, an expatriate Viennese living in London, is, not surprisingly, more interested in writing waltz music than Porter, but Miller gives him some witty lyrics in songs such as "A Man Is a Man" and "Strike Another Match" that offer some competition to Porter's characteristically clever sense of wordplay. For his part, Porter turns in some memorable melodies in Can-Can, notably "C'est Magnifique," "It's All Right with Me," and "I Love Paris." And he benefits from the casting of Irene Hilda in the main role of Pistache, who makes a better impression than Lilo did on the original Broadway cast album. Evelyn Laye also impresses in Wedding in Paris, even though she is hamstrung by the elimination of several of her key songs from the recording. This is material that has been out of print for a long time, and Sepia has done an excellent job of putting together a package that shows it off to advantage. ~ William Ruhlmann, Rovi All Music Guide
Au tournant du siècle, à Paris, La Mome Pistache, fière propriétaire de l'infâme "Bal du Paradis", affronte Aristide Forestier, un juge extrêmement rigoureux qui a pour but de fermer tous les cabarets parisiens.Synopsis complet
Par hasard, ils tombent amoureux et Aristide avoue qu'il n'y a obscénité que dans le fait de celui qui regarde…
Can-Can est l’avant-dernière comédie musicale écrite par Cole Porter pour Broadway (sur un livret d’Abe Burrows). Comme beaucoup de ses œuvres précédentes, elle rend un hommage vibrant à Paris, une ville chère à son cœur. Cole Porter y fait montre de sa maestria habituelle tant dans l’écriture de la musique que dans celle des lyrics (qui d’autre ferait rimer “prayers” et “derrières” ?)
Créée en 1953, elle tiendra l’affiche deux ans et fera une star de Gwen Verdon, qui ne tenait pourtant que le second rôle féminin.
Génèse du musical
After the pre-Broadway tryout at the Shubert Theatre in Philadelphia in March 1953, Can-Can premiered on Broadway at the Shubert Theatre on May 7, 1953, and closed on June 25, 1955 after 892 performances. The original production, which Burrows also directed, starred Lilo as La Mome, Hans Conried as Boris, Peter Cookson as the judge, Gwen Verdon as Claudine, Dania Krupska, Phil Leeds, Dee Dee Wood, and Erik Rhodes as Hilaire. Michael Kidd was the choreographer. According to Ben Brantley, Claudine was "the part that made Gwen Verdon a star."
The West End production premiered at the Coliseum Theatre on October 14, 1954, and ran for 394 performances. Restaged by Jerome Whyte, the cast included Irene Hilda (La Mome), Edmund Hockridge (Aristide), Alfred Marks (Boris), Gillian Lynne (Claudine) and Warren Mitchell (Theophile).
A Broadway revival opened April 30, 1981 at the Minskoff Theatre and closed after five performances and sixteen previews. It was directed by Burrows with choreography by Roland Petit and starred Zizi Jeanmaire. Frank Rich wrote: "...mediocre material, no matter how it's sliced, is still mediocre material. 'Can-Can' never was a firstrate musical, and now, almost three decades after its original production, it stands on even shakier legs."
A 1983 outdoor production played at The Muny in St. Louis, starring Judy Kaye, John Reardon, John Schuck, Lawrence Leritz, Lorene Yarnell and Beth Leavel to excellent reviews.
The London revival at the Strand Theatre ran from October 26, 1988 through January 21, 1989. David Taylor directed, with choreography by Kenn Oldfield, with a cast that featured Donna McKechnie (Mme. Pistache), Bernard Alane, Norman Warwick, Janie Dee (Claudine) and Milo O'Shea. Producer Lovett Bickford explained that "his version was less a revival than a complete revision. 'For all intents and purposes, this is a new show,' he said." It had a revised book which incorporated songs from Fifty Million Frenchmen, Nymph Errant, Silk Stockings, Out of This World and other Cole Porter musicals.
Also in 1988, an international tour starred Chita Rivera and Ron Holgate. The tour featured the Radio City Music Hall Rockettes. This production was directed by Dallett Norris, with choreography by Alan Johnson.
In 2004, a City Center Encores! staged concert production featured Patti LuPone as La Mome Pistache, Michael Nouri (Judge Aristide Forestier), Charlotte d'Amboise (Claudine), Reg Rogers, and Eli Wallach. This production was directed by Lonny Price, with sets by John Lee Beatty and lighting by Kenneth Posner.
Liste des chansons
Maidens Typical of France – Company
Never Give Anything Away – La Môme Pistache
C'est Magnifique – Pistache and Judge Aristide Forestier
Come Along with Me – Hilaire Jussac and Boris Adzinidzinadze
Live and Let Live – Pistache
I Am in Love – Judge
If You Loved Me Truly – Claudine and Judge
Montmartre – Company
Garden of Eden Ballet
Allez-Vous-En – Pistache
Who Said Gay Paree? –
Never, Never Be An Artist – Boris and Company
It's All Right With Me – Judge
Every Man is a Stupid Man – Pistache
The Apaches (dance)
I Love Paris – Pistache and Company
Can-Can – Pistache and Women
Finale – Company
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Versions majeures de Can-Can
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