At the Piccadilly Theatre, Michael Grandage’s production of Frank Loesser’s 1950 Broadway classic Guys and Dolls has extended its run by six months. It opened on 1 June 2005 (previews from 19 May) and is now booking up to 2 September 2006, headed by new cast members Nigel Harman and Sarah Lancashire, along with Nigel Lindsay and Jenna Russell (See News 15 Sep 2005).
Based on Damon Runyon’s short stories about New York gamblers and their girls in the 1940s, the musical was made into a 1953 Hollywood film starring Marlon Brando, Jean Simmons and Frank Sinatra. Grandage’s revival, the first new production of Guys and Dolls in London for 23 years, is designed by Christopher Oram, with choreography by Rob Ashford, musical supervision by Jae Alexander, lighting by Howard Harrison and sound by Terry Jardine and Chris Full.
The production has been nominated for a total of eight of this year’s Whatsonstage.com Theatregoers’ Choice Awards, including Best Actor and Actress in a Musical for all four of the original leads – Ewan McGregor versus Douglas Hodge for the former, Jane Krakowski versus Russell for the latter – as well as Best Musical Revival and Best Director (click here to vote now!).
Meanwhile, at the Theatre Royal Drury Lane, The Producers - which opened on 9 November 2004 (previews from 22 October) and was previously booking to 1 April 2006 - has added seven months and is now taking bookings up to 28 October 2006.
Based on Mel Brooks' 1968 film classic and set in New York in 1959, The Producers revolves around washed-up theatre producer Max Bialystock who, with his timid accountant Leo Bloom, cooks up a scheme to make a fortune by presenting a sure-fire flop called "Springtime for Hitler".
The production currently stars Fred Applegate as Bialystock and John Gordon Sinclair as Bloom, who has been nominated for Best Takeover in a Role at this year’s Whatsonstage.com Theatregoers’ Choice Awards (click here to vote now!). The cast also includes Nicolas Colicos, Stephen Matthews, Don Gallagher and Leigh Zimmerman.
- by Caroline Ansdell
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