Profile for ¿Macavity?

I just have to say (even though it obvs isn't necessary) how unbelievably excited I am to read reports. Oh, to be at the first performance of Sondheim's final work... How am I supposed to sleep knowing that when I wake up reports will be in? It's like Christmas x10! I saw Old Friends first preview in London last week, and though it was enjoyable, it didn't quite have the cathartic release I was after. While watching, I kept daydreaming of how nice it'll be for those who'll see THIS. New work ...

I recently watched that documentary on the original London production of Sweeney and was really blown away by the costumes and makeup. For some reason the unusual beauty of her designs never struck me in the Lansbury-Hearn recording, but now it's all I can see! Brilliant and imaginative work. RIP.

A beautiful career.RIP

Not an ALW fan (my name is a goof, made it on a stupid cheeky whim) but I thought it was alright. If lacking in inspiration, it is at least a very traditional British sounding tune. It's pleasant, and positive; what more was needed?

Such a brilliant, brilliant actor. Echoing what others have said, her Jack's Mother and both of her roles in SUNDAY are absolute perfection. RIP.

inception said: "¿Macavity? said: "I saw this shortly before it closed in London. I agree that it was visually breathtaking and that the script is very rough. Also some really dodgy acting from a few people; hopefully it was an off-night.For me, the worst part Click Here To Toggle Spoiler Contentwas when they spelled out the parallels of the two stories, which gave me the biggest involuntary eye-roll I think I've ever had in a theatre. But isn't that straight out of the book. I have very stro...

I saw this shortly before it closed in London. I agree that it was visually breathtaking and that the script is very rough. Also some really dodgy acting from a few people; hopefully it was an off-night.For me, the worst part Click Here To Toggle Spoiler Contentwas when they spelled out the parallels of the two stories, which gave me the biggest involuntary eye-roll I think I've ever had in a theatre. Honestly though, the visuals are so beautiful and the actor who played Pi was so good that i...

What a brilliant career. RIP.

Oy, that article is a decade off on Fred Ebb's death.

The Big 5 of R&H is based on what their biggest hits were, so should that same logic be applied here? In that case, Company, Into the Woods, Sweeney Todd, Forum, and Night Music would be the answer, as I believe they're his only works (that he did both music and lyrics) to have recouped in their original stagings - though if I recall correctly, Into the Woods and Sweeney recouped on tour. I don't know though, with his shows a lot seems to come down to cultural significance (like Sunday) and p...

Didn't get to see it on Broadway, but if people are gonna show love to The Visit, I must chime in - what a recording...

I think it recouped on tour.

Hard to think of a truly bad overture... But for your other question, I think WONDERLAND and GHOST have waaay better overtures than the shows themselves.

A bit late, it's been a busy week and I just haven't had time to process.My introduction to Angela Lansbury was seeing her in the recording of Sweeney Todd. She. Blew. My. Mind. I still marvel at that performance everytime I watch it - truly remarkable.I'll miss her dearly...

I've given it a few tries, but I can't get into this recording. Hard to nail down exactly why though, something about it just isn't resonating with me. It's well produced and I'm a long time fan of these performers, but something isn't doing it for me.I'm drawn to say it's the performances that are leaving me cold, but that seems impossible because, again, I really admire these performers. I don't know, maybe if I had seen this production it would have clicked? The contemporary sound is fine,...

I returned last night and the show was considerably tighter. Milky was less intrusive, the characters felt much more put together, and a few small - though important - moments worked better. That said, it still has its problems. I love this production's take on the Mysterious Man, but it doesn't totally click. Why the little girl in the beginning? Why the death-like Mysterious Man? And what is their relationship? I really admire this production, but it still needs a bit of work to live up to ...

I saw Pippin at Charing Cross, and it is quite intimate. Never saw Allegiance, but the cast recording left me underwhelmed. Might check this out though if I can make it into London during its run.

^ That was my experience as well. It was great for the rest of the show, though. A particularly interesting moment was when during "What Would You Do" Schneider turned away from Cliff, and just our section of the audience got to see this look of restrained emotion on her face. Brilliant staging/acting.Point is, either section is great, except for during the title number, but even that's not too bad.

My favourite is the Leicester/Haymarket recording. Nice cast, great orchestra, and I really like the open sound of it. A big highlight is the orchestrations in "Now You Know" with the whole: "What's your choice, count to ten..." love that bit. Second is the OBC - fascinating, and as said above by another, "Our Time" really shines.

Referring to the change of venue from the Old Vic, one of the producers said: "We feel privileged to be working on this wonderful work and we are extremely grateful to Steve and James Lapine for their support as we searched for a new home for this production."That's what I could find just now, but I could have sworn they had both Sondheim and Lapine's blessing. I don't know where to find that now.