Sam Mendes to direct stage musical of CHARLIE AND THE CHOCOLATE FACTORY for June 2013
  • Samuel001Samuel001
    Posts: 10,175
    Warner Bros. Theatre Ventures, Neal Street Productions and Kevin McCormick today announced that their production of Roald Dahl’s Charlie and the Chocolate Factory will open at the London Palladium in June 2013 after a preview period. The new stage musical will be directed by Sam Mendes, with a book by David Greig and new songs from Marc Shaiman and Scott Wittman.

    Set and costume design will be by Mark Thompson with choreography by Peter Darling. Other members of the creative team include: Doug Besterman (orchestrations); Nicholas Skilbeck (Music Director); Paul Pyant (Lighting Designer); Paul Arditti (Sound Designer) and Jon Driscoll (Video and Projection Designer).

    The mysterious Willy Wonka is opening his Chocolate Factory for just one day, and for Charlie Bucket it promises to be a mouth-watering chance to feast his eyes on sweets beyond his wildest imagination. Academy Award®-winning film and theatre director Sam Mendes will bring Roald Dahl’s much-loved classic to life in this world premiere stage production.

    Tickets will go on sale to the public in October 2012.

    Written by Roald Dahl, Charlie and the Chocolate Factory was first published in 1964 in the US and in the UK in 1967. The book has been adapted into two major motion pictures: Willy Wonka & the Chocolate Factory in 1971 and Charlie and the Chocolate Factory in 2005.

    Sam Mendes' work directing theatre and film spans 25 years. In 1992, he founded the Donmar Warehouse. Among his many lauded productions are Glengarry Glen Ross, Cabaret, The Blue Room, The Front Page, Uncle Vanya and Twelfth Night. Several of the productions transferred to Broadway where he had a huge success with Cabaret (which won four Tony Awards® including Best Musical), Gypsy, The Blue Room and the world premiere of David Hare’s The Vertical Hour. More recently he was involved in a joint venture between The Old Vic and BAM in New York, The Bridge Project, for which he directed several acclaimed productions including The Tempest, The Cherry Orchard, A Winter’s Tale and Richard III starring Kevin Spacey. American Beauty in 1999 was his first film, it won five Academy Awards® including Best Director and Best Picture, and six BAFTAs. Since then, he has directed four further films; Road To Perdition, Jarhead, Revolutionary Road and Away We Go – which garnered 10 Academy Award® nominations between them. His enormous contribution to cinema and theatre saw him awarded a CBE in 2000 and A Director’s Guild Lifetime Achievement Award in 2005. He has been directing the 23rd James Bond film, Skyfall, which will be released in October 2012.

    David Greig’s award-winning work includes The Strange Undoing Of Prudencia Hart (Tron Theatre, National Theatre of Scotland), Midsummer (Traverse Theatre and Soho Theatre/Tricycle Theatre, UK and international tour), Dunsinane (RSC at Hampstead Theatre and National Theatre of Scotland tour), Damascus (Traverse Theatre, Scotland and the Tricycle Theatre) and Miniskirts Of Kabul (Tricycle Theatre) Brewers Fayre (Traverse Theatre), Outlying Islands (Traverse Theatre and Royal Court, Upstairs), The American Pilot (RSC, Soho & MTC). Adaptations include The Creditors (Donmar Warehouse and BAM, NYC), The Bacchae (Edinburgh International Festival and Lyric Theatre, Hammersmith), Tintin In Tibet (Barbican, Playhouse Theatre, London and National Tour), When The Bulbul Stopped Singing (Traverse Theatre, Caligula (Donmar Warehouse) and Peter Pan (NTS, Traverse/ Barbican). David’s work for children and young people includes The Monster In The Hall (TAG Theatre Co. Glasgow/Traverse Theatre), Yellow Moon (TAG Theatre Co. Glasgow/Traverse Theatre and tour), Gobbo (National Theatre of Scotland, Highlands tour), Dr Korczcak’s Example (TAG Theatre Co. Glasgow, Citizen’s Theatre and BAC, London). David is currently under commission to The Almeida Theatre and The National Theatre of Scotland. He is working with Film Four on a screen adaptation of his stage play Midsummer. Other films include: Vinyan and A Complicated Kindness.

    Marc Shaiman (Music and Lyrics) composed the music and co-wrote the lyrics for the musical Hairspray with Scott Wittman. For their score, the pair won the Tony, Grammy and Olivier Awards. They teamed up again for Broadway’s Martin Short: Fame Becomes Me and Catch Me If You Can, for which Marc was a Tony Award® nominee for his orchestrations. They recently worked on A New Television series for NBC, Smash. Marc is a five-time Academy Award® nominee for his scores and songs for the films Sleepless in Seattle, The First Wives Club, Patch Adams, The American President and South Park: Bigger, Longer & Uncut. Marc’s additional film credits include; When Harry Met Sally, Beaches, Misery, City Slickers, The Addams Family, A Few Good Men, Sister Act, George of the Jungle and The Bucket List. Marc received an Emmy Award for co-writing Billy Crystal’s medleys for The Academy Awards®. He was also Emmy-nominated for writing on Saturday Night Live (the Sweeney Sisters). His arrangements for Harry Connick Jr. brought him two Grammy nominations, as did the Hairspray soundtrack. As her music director and co-producer, Marc brought his long-time partner Bette Midler the Grammy winning songs “The Wind Beneath My Wings” and “From A Distance”. But it is their collaboration on her Emmy Award-winning performance for Johnny Carson’s penultimate Tonight Show that will always remain a highlight.

    Scott Wittman (Music and Lyrics)'s credits include directing and co-writing Martin Short: Fame Becomes Me on Broadway and on tour. Scott has created and directed two Broadway shows, three recordings, and two sold-out Carnegie Hall concerts for Patti LuPone. On television he has conceived and directed performances for Nathan Lane and Sarah Jessica Parker. He has co-written Neil Patrick Harris’ musical numbers for The Academy Awards® (Emmy Nomination), The Emmy’s, and the Emmy winning Tony Awards®. He has also co-created Christine Ebersole’s successful nightclub appearances. He has received the Tony, Grammy, Drama Desk, Outer Critics, Evening Standard and Olivier Award for his work as co-lyricist on Hairspray. On Broadway, he was the co-lyricist for the Tony Award® nominated musical Catch Me If You Can. He recently worked on the new NBC television series, Smash.

    Mark Thompson (Set and Costume Design)'s most recent design includes: She Stoops to Conquer (National Theatre), Faith Machine (Royal Court), One Man,Two Guvnors ( National Theatre), The Children's Hour (Comedy Theatre), Tribes (Royal Court), La Bête (London, New York), London Assurance (National Theatre), God of Carnage (Gielgud Theatre, Broadway), England People Very Nice, The Rose Tattoo, The Alchemist, Once in a Lifetime, Henry IV part I and II (National Theatre), Female of the Species (Vaudeville Theatre), Joseph and the Amazing Technicolor Dreamcoat (Adelphi Theatre), Kean (UK tour/Apollo Theatre), Piano/Forte, The Woman Before, Wild East, Mouth to Mouth (Royal Court Theatre), And Then There Were None (Gielgud Theatre), Funny Girl (Chichester, Festival Theatre), Mamma Mia! (Prince of Wales Theatre, Prince Edward Theatre, London, Toronto, US Tour, Broadway, Japan, Germany, Australia), Bombay Dreams (Apollo Victoria, Broadway). Costumes for Uncle Vanya and Twelfth Night (Donmar Warehouse, B.A.M.). Mark is the winner of four Olivier Awards and two Critics Circle Awards. He has been nominated for two Tony Awards®.

    Peter Darling (Choreography) theatre credit’s include: Matilda The Musical (RSC & West End) for which he won the Olivier Award, Billy Elliot (London, New York, US Tour, Australia), for which he won an Olivier Award and Tony Award®, The Lord Of The Rings (London, Toronto), Our House (Cambridge Theatre), Merrily We Roll Along (The Donmar Warehouse), Candide (The Royal National Theatre) and Oh What A Lovely War! (The Royal National Theatre). Film credits include; The Phantom Of The Opera, Billy Elliot, Plots With A View and most recently Trauma. Other credits include: Closer To Heaven (The Pet Shop Boys/Really Useful Group), Power (Royal National Theatre), A Midsummer Night’s Dream (Bristol Old Vic), Sunset Boulevard (UK Tour), The Tempest (RSC), and Edward II, The Country Wife, As You Like It and Twelfth Night directed by Michael Grandage.

    http://broadwayworld.com/article/CHARLIE-AND-THE-CHOCOLATE-FACTORY-THE-MUSICAL-Set-for-London-Palladium-June-2013-20120618
  • BounineBounine
    Posts: 994
    Could be that Eon wll be looking for another director for their next installment yet again.
  • bondbat007bondbat007
    Posts: 944
    I remember reading this a while ago but it's good it's finally been announce. I'm a huge fan of the Wonka story. But IMO any musical adaption without the song "Golden Ticket" would be incomplete.
  • Samuel001Samuel001
    Posts: 10,175
    Bounine said:

    Could be that Eon wll be looking for another director for their next installment yet again.


    At last, somebody answers! That was my first thought too. Let's start the guessing game now.
  • RogueAgentRogueAgent
    Posts: 3,577
    From what i have seen? I was kind of hoping for Mendes to carry on? For me i would say Nolan if he can accept EON's way of working?
  • BounineBounine
    Posts: 994
    Yeah, Nolan would be a perfect choice for a Craig Bond film.
  • JWESTBROOKJWESTBROOK
    Posts: 4,673
    I'm a little naive to the theater ways, but couldn't he still pull it off?

    Begins direction spring 2013 on this play; play opens June; production on Bond starts in November.

    Does the director stay with the play through out it's entire tour?
  • RogueAgentRogueAgent
    Posts: 3,577
    At the press conference he said it depends if he is still enjoying himself? But that's just a polite way of keeping his options open. Which is fair enough and is entitled to do. I guess its a case of wait and see?
  • GetafixGetafix
    Posts: 3,155
    Have always said it is unlikely Mendes will return straight away. He is the kind of director who needs a new challenge.
  • VirageVirage
    Posts: 1,804
    Damn, the only thing that could of made this good was using the poems like the '05 film.
  • bondbat007bondbat007
    Posts: 944
    It's opening June 2013? I'm pretty sure that would give him time for Bond 24 if he wanted it to. He directed Henry V right before SF went into production if I'm not mistaken?
  • BounineBounine
    Posts: 994
    "Does the director stay with the play through out it's entire tour?"

    That's what I was wondering. I don't know much about theatre but I suspect the director would, otherwise maybe the acting will lose a bit of focus unless the director hires someone else to act as the helmsman to travel with the crew.
  • Samuel001Samuel001
    Posts: 10,175
    Mendes didn't stay with Richard III starring Kevin Spacey. He just got that up and running, before leaving to direct Skyfall. The same could apply with Bond 24. He's not out of the picture yet.
  • St_GeorgeSt_George
    Posts: 1,509
    Samuel001 said:

    Mendes didn't stay with Richard III starring Kevin Spacey. He just got that up and running, before leaving to direct Skyfall. The same could apply with Bond 24. He's not out of the picture yet.



    It is possible, certainly. Major directors who, if you will, originate musicals oversee the rehearsal process and launch and then tend to depart for pastures new, leaving the day-to-day directing and tweaking to far lesser names - who barely ever get properly credited. For instance, I caught an excellent documentary on West End theatre a few months ago that revealed for Phantom Of The Opera legendary stage director Hal Prince only worked on rehearsals for two weeks and then only in the mornings. And then buggered off as soon as it opened. As its original director, he's still credited on posters to this day.

    Two more points, methinks it's less likely than more-than-likely, though, that Mendes'll skip the next Bond flick rather than carry straight on as past 007 directors once did. Suspect the lure of a quite different artistic challenge when it comes to his next film project will be too much - it's been the pattern of his career. But, given his positive noises, while dependent on the level of SF's success, of course, I wouldn't be at all surprised if he came back at some stage to direct another.

    Plus, given it's Mendes who's directing (and this'll be his first musical, I believe) and because I'm a huge fan of the novel and Dahl in general, I'm looking forward to this effort, must say...

  • Samuel001Samuel001
    Posts: 10,175
    I also wonder if this is why we've had no official word on the next film. EON are waiting for Mendes to say yes, so they can announce him as the director and the release date at the same time.
  • MrBondMrBond
    Posts: 1,364
    Samuel001 said:

    I also wonder if this is why we've had no official word on the next film. EON are waiting for Mendes to say yes, so they can announce him as the director and the release date at the same time.



    But isn't they confirming who the director is for the next one on the spring after another film?
  • karatemanchan37karatemanchan37
    Posts: 536
    Bond 24 isn't being greenlit until at least a two year span right? If so, we would be aiming for a Nov 2014 date, and let's say shooting takes at least another year - beginning in Nov 2013. That gives him at least five months to work with the cast/crew before leaving. Or they could just push Bond 24 to 2015.
  • Samuel001Samuel001
    Posts: 10,175
    MrBond said:

    Samuel001 said:

    I also wonder if this is why we've had no official word on the next film. EON are waiting for Mendes to say yes, so they can announce him as the director and the release date at the same time.



    But isn't they confirming who the director is for the next one on the spring after another film?


    Normally, yes but if Mendes returns they may want to get that news out there as soon as it's able to be confirmed. Who knows I'm just guessing, hopefully an educated one.
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