Matador

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Introduction to "Matador"

"Matador" premiered in London’s West End at the Queen’s Theatre now the Sondheim Theatre on April 16, 1991, running for approximately 88 performances until July 1991. With music by Mike Leander and Eddie Seago, lyrics by Seago, and a book by Peter Jukes, this musical tells the story of a fictional matador loosely inspired by Manuel Benítez, "El Cordobés." Directed by Elijah Moshinsky, it starred John Barrowman as Domingo Hernandez and Stefanie Powers as Maria Estrada. Produced by Laurence Myers and Michael White, the show evolved from a 1987 concept album featuring Tom Jones, whose hit "A Boy from Nowhere" stemmed from it. Its striking flamenco choreography by Rafael Aguilar won the 1992 Olivier Award for Best Choreography, but despite this acclaim, its short run reflected mixed reception and financial struggles in a competitive West End season.

The Creative Team Behind the Show

Mike Leander and Eddie Seago crafted the score and lyrics, drawing from their pop music roots Leander’s work with The Beatles and Seago’s collaborations with Jones while Peter Jukes’ book shaped the matador’s rise and fall. Elijah Moshinsky, an opera director, brought a dramatic flair, paired with Rafael Aguilar’s Olivier-winning flamenco choreography, featuring Spanish dancers making their West End debuts. John Barrowman, in an early starring role, led as Domingo, with Stefanie Powers as the commanding Maria, supported by Caroline O’Connor as Conchita and A.J. Ranson as Juanita. Producers Laurence Myers and Michael White banked on Jones’ album buzz, but Moshinsky’s operatic style and a cast shift Jones opted out tested the £1 million production’s cohesion, leaning heavily on Aguilar’s dance to dazzle.

A Bullfighter’s Passionate Rise and Fall

In a Spanish village, Domingo Hernandez, a young dreamer, rises from poverty to become a celebrated matador, fueled by ambition and love for Maria Estrada, a powerful figure in his world. His journey dazzles with bullring triumphs staged with black-clad dancers as bulls and torrid affairs, notably with Conchita, echoing "I’ll Dress You in Mourning." Success breeds envy; Maria’s influence wanes as Domingo’s fame peaks with "A Boy from Nowhere," only to crash when betrayal and a rival’s blade end his reign. Songs like "I Was Born to Be Me" and "Matador" frame his arc a passionate ascent undone by hubris and fate culminating in a tragic death, mourned by the village that once cheered him, a classic tale of glory’s fleeting sting.

Performance and Reception

Opening with fanfare from Jones’ album, "Matador" drew initial crowds Variety noted its “stunning” dance but faltered, closing after 88 shows in three months, far shy of its hoped-for year-long run. Critics were divided: The Stage praised Barrowman’s “vibrant” lead and Aguilar’s “breathtaking” choreography securing the 1992 Olivier yet The Guardian called it “overblown,” critiquing a thin plot and Leander’s uneven score. Audiences loved the spectacle Spanish dancers and bullfight staging dazzled but many found its operatic tone heavy amid lighter West End hits like "Miss Saigon." Barrowman’s singles "I Was Born to Be Me" and "I’ll Dress You in Mourning" charted modestly, but a planned cast album was scrapped, leaving its West End echo reliant on memory and reviews.

Legacy in West End Theatre

"Matador"’s 88 performances pale beside "Les Misérables"’ thousands, yet its 1992 Olivier for Best Choreography honors Aguilar’s flamenco innovation, a rare West End nod to Spanish dance. Born from a 1987 concept album Jones’ "A Boy from Nowhere" hit UK Top 10 it aimed high but stumbled commercially, with no Broadway transfer or major revival, unlike "Phantom." Barrowman’s star rose later shining in "Anything Goes" while Powers’ stint added Hollywood gloss. Amateur stagings persist, and Jones’ album keeps its sound alive, but its £1 million loss marks it a cautionary tale of ambition outpacing audience taste. In West End lore, it’s a fleeting bullring blaze vivid, passionate, and gone too soon its dance enduring over its drama.