Margo on Sweeney Todd -- First Preview- Page 2

[RentBoy86]

Posted: 10/4/05 at 11:44pm

My theater teachers always stress the fact that every action on stage should be justified. My question is, how does one justify their character playing tuba while someone else is singing? Or when they're playing the instruments are they part of the "orchestra" and aren't really in scene?

[GovernorSlaton]

Posted: 10/4/05 at 11:45pm

Yes, I wanted to say how lovely it's been reading these discussions. I'll be able to throw in my two cents in a little more than a week.

[C is for Company]

Posted: 10/4/05 at 11:46pm

Because its a whole reimagining of the show and the way its done. Whether its artistic purpose is justified or anything, I dont really find reason to complain in a piece that should be open to different takes on it. I dont know how much you can beat the original staging into the ground, but I can say Im happier it was done this way than previous outings

[Michael Bennett]

Posted: 10/4/05 at 11:47pm

Most of the "buttons" have been removed from the songs or are downplayed so that the show flows continuously. There are only three moments in the entire show where the action stops to allow the audience to applaud -- after Anthony's "Joanna", at the end of the First Act and at the end of the second act.

This may sound bizarre, but it works. It also keeps late comers from being seated until 40 minutes into the show. Bravo.

[ljay889]

Posted: 10/4/05 at 11:48pm

I'm a little confused why some people seem a little turned off by the lack of sets and the simple feel the show will have.

Chicago proved that a show can be a huge hit and can be a powerful experience with no sets. It's the most successful revival in history, so that says something right there.

I think this revival of Sweeney will work and be a success with the "simple" feel it has.
Updated On: 10/4/05 at 11:48 PM

[smartpenguin78]

Posted: 10/4/05 at 11:51pm

To RentBoy, most of the time they are playing the instruments seperately as a part of the orchestra, yet still also as their characters, it is a unique conciet wheater you think it works or not. Then at times they play their instruments completly as their character, within the scenes, such as Lovett with the tuba. She is playing what could be described as Tuba solo, and is trying to draw attention to herself, but it is a very Lovett moment, it seems exactly what Lovett would do if she could "speak" tuba.

[Auggie27]

Posted: 10/4/05 at 11:52pm

Points well taken, MichaelBennett. Prince infamously makes his own concepts stand out in bas relief (EVITA more about media than Eva per se, etc., as he stated in interviews). You're right about the layers of thematic elements. No one is reporting that the performers seem (unfairly) taxed -- that their singing or acting suffer to accommodate the music -- so perhaps I'm being presumptuously protective of them. (And without seeing it yet!) I am delighted to hear more about it, before hand. Maybe this is one case where the thread helps me KEEP and open mind.

[Michael Bennett]

Posted: 10/4/05 at 11:52pm

Rentboy -- its definitely a Brechtian staging. It has all the trademarks, including the cast exits after the acts. If you ask your teacher about that, I'm sure he'll be able to elaborate.

[GovernorSlaton]

Posted: 10/4/05 at 11:53pm

But the point that is being made is that it's not simple -- there's too much going on. It doesn't seem as if "simple" is what they were going for.

[bwayrocks_ca]

Posted: 10/4/05 at 11:54pm

smartpenguin78 - I'm wondering if you or anyone else can point out the times when Mrs. Lovett is playing the tuba. (If I can't get to NYC to see it, I want to see it in my head.)

[ljay889]

Posted: 10/4/05 at 11:56pm

My use of simple insinuates the lack of set.

[C is for Company]

Posted: 10/4/05 at 11:56pm

I found that playing their instruments in no way whatsoever, detracted them in using their voices to the fullest (i.e. manoel, patti)

[Michael Bennett]

Posted: 10/4/05 at 11:58pm

She plays it at least four times. She plays it during Pirelli's Miracle Elixer, the Contest, during the Judge's "Johanna," and during "God that's Good." She also plays a lot of the shows percussion.

And don't feel bad for these actors. I don't think playing the piano during a show is any more taxing then dancing a Jerome Robbins production, plus they are receiving two salaries (one for acting, one for playing)
Updated On: 10/4/05 at 11:58 PM

[smartpenguin78]

Posted: 10/5/05 at 12:01am

Auggie, playing the instruments may be "harder" for them to do, but I really feel in many ways it gives them an additional tool to work with, they are able to use the instruments to add texture to the performance, their singing and acting are in some ways enhanced by the presence of the instruments. (Although as Margo has stated, sometimes the phyiscal presence of the instrument gets in the way, as does an "Oh WOW" factor that they can do it all, at least as well as this group pulls it off.)

rocks_ca- I knew someone would get to that before I had the chance. Good work MB. Either way, I thought the moments were hilarious. (intentionally so)

Updated On: 10/5/05 at 12:01 AM

[sfboy20]

Posted: 10/5/05 at 12:03am

I must start by saying that I have always enjoyed your intelligent and cool-headed messages on the board and your opinions usually come from a very nice, experienced perspective. not to mention, your opinions are usually very similar to mine - which certainly doesn't hurt in getting me to like your thoughts. :o)

i have tickets to the show shortly following opening, so i don't respond to your thoughts as someone who has seen the production, obviously.

i do question, fundamentally and theoretically, whether a production must have a concept that is organic to the setting of the story. furthermore, why must a production even be most concerned with always servicing story, specifically the ability to transport on audience to the setting of a story?

i'm not challenging you and certainly i understand that these are principal goals in mainstream western theatre today. indeed, i worry how successful this production will be on such a mainstream platform such as broadway, where half the audiences are tourists, probably half of which are buying tickets to theatre, desiring theme park rides.

as a director, though, sometimes for a production I find it interesting to merely taking an audience on a journey, through something that may be linear or literal, but possibly merely a collection of images, moods, experiences that can move a receptive audience. again, i do also understand that such theatre is not ideal for broadway audiences and is best seen in other parts of manhattan, or brooklyn.

do you think the show succeeds on these standards? i'm merely curious because you have seen it and are someone I understand to be experienced enough to perhaps also attend such theatrical works.

thank you. i appreciate it.

[Michael Bennett]

Posted: 10/5/05 at 12:05am

Wow, SFBoy. You articulated what I've been trying to say more clearly then I ever good. Thank you.

[musicalfandukie]

Posted: 10/5/05 at 12:10am

great review Margo! i never was to thrilled about the concept of the intstruments from the beginging...after hearing your review i think it would really distract me as well form the story even tho i know it very well..i'd still go see the show tho cause i love the score and because it sounds like the cast is very talented.

[Fosse76]

Posted: 10/5/05 at 12:12am

I ag you Margo, 100%. It seemed more like a stylized concert version as opposed to a staging. Though I compared it more to a regional theatre production, which wouldn't be able to put on a grand scale production. And this would be a scaled back way of doing it. While I loved seeing the actors play their own instruments, I wondered why it was even necessary. It's definitely a gimmick, and one worth seeing, but only because the cast does a tremendous job. Though I thought Mark Jacoby was a bit wooden, and Anthony handsome in an unconventional way. Not quite sure why a woman plays Perelli, but that's neither here nor there.

[Michael Bennett]

Posted: 10/5/05 at 12:15am

I posted this somewhere else -- but Pirelli is played by a woman because in London, they couldnt find a man to play the accordian, but then they realized that you really need an additional female voice for balance. If you are doing the show with only ten people, 3 women to 7 men is not a good mix.

[C is for Company]

Posted: 10/5/05 at 12:19am

SFboy20- Well pointed out. Completely agree. I'd rather be witness to seeing such great talents performed onstage in a new manner with a story I already am familiar than having a carbon copy of the same directions and same way to play out the story. You really get a better reaction out of people that way too when they see something as recognizable as this being done so differently, positive or not. Making something different shouldnt detract any praise from it either, especially if there is a different aim to it. Just take its new interpretation for what it is instead of saying how it should be more traditional, less innovative. I mean I could see it being seen as mixed with a concert-style staging to it, but I cant argue with something that so skillfully can be pulled of as this.

[Michael Bennett]

Posted: 10/5/05 at 12:23am

A semi concert staging sure didn't hurt the CHICAGO production any. And I wouldn't exactly say that the "no set - modern dance clothes" concept is a particularly appopriate conceit for a musical set in 1920s vaudeville -- but it works.

As long as it takes you on a unique journey, why does theatre have to be realistic? Why does it even have to make logical sense? Part of the problem with whats happened to theatre in the 21st century when the worlds of film and television have taught us that everything needs to be completely naturalistic.

But truly, having IN MY LIFE and SWEENEY start on Broadway in one week is truly remarkable. When was the last time we had to such avant garde musicals running on Broadway at once. A good omen for musical theatre I say.
Updated On: 10/5/05 at 12:23 AM

[sfboy20]

Posted: 10/5/05 at 12:29am

well, margo was right with the point on chicago. the stripped down staging of chicago strengthened the vaudevillian theme.

this production of sweeney always struck me as a innovative staging of a major work - something very common among theatre artists whose work could be described as avante garde. (i.e. the viewspoints-driven production of 'midsummer's' directed by anne bogart that i saw last year)

i just wonder if a broadway audience is the correct audience for the production since they are not usually the audiences most interested in innovative and challenging interpretations of works, major or minor. an example of such an audience might be those who attend shows at BAM or tonight's audience of Wooster Group's "poor theater" (or anything by the wonderful Wooster Group).

Updated On: 10/5/05 at 12:29 AM

[sfboy20]

Posted: 10/5/05 at 12:46am

bennet, i enjoy your remark about the state of musical theatre. television and film do little to change audiences desire for naturalism, or at the very least work that is instantly accessible to a majority of the populace.

while i feel that musical theatre has nearly always been a mainstream in its tastes, i feel that sondheim was one of the few innovators who pulled obscure interests into the mainstream musical theatre scene.

and perhaps it is appropriate that this is controversial production is of a sondheim work.

p.s. i also enjoy your photo.
Updated On: 10/5/05 at 12:46 AM

[BobbyRobbyBobbyBaby]

Posted: 10/5/05 at 12:47am

Great insights as usual Margo!

I think the issue that some people are having with this production is that it is not the original production. If one goes to this "re-imagined" version of Sweeney and leaves the original at the door, one will thoroughly enjoy oneself. It makes perfect sense for this story to come from Tobias’ head since he was the only one that wasn’t killed in the original version. He may have been so traumatized by that experience that he ended up in an asylum. Hence the beginning of our story (which is set sometime in the future of the actual event.) Perhaps we are seeing the events relived in his nightmares?

I must agree that the actors playing their own instruments are at times distracting. I believe the intention was to have each instrument symbolize and become an extension of the character musically. For instance, Mrs. Lovett plays the tuba and her character is loud, deep and totally in your face, while Joanna’s cello is romantic, sensual and there is a sense of longing. I think the actors do a very good job separating the two tasks but there are certain moments when you want them to put the instrument down and give the material their full and undivided attention.

Having the characters talk to the audience instead of each other is to remind us that we are not experiencing the events as they happened (in a traditional storytelling way), but rather through Tobias’ dreams or nightmares of the events.

As a concert version, this production delivers and delivers and delivers. It also has
motion picture written all over it.

[C is for Company]

Posted: 10/5/05 at 12:50am

What about anthony and johanna not becoming part of the many deceased? Plus I must add about the "extensions to character" they are also used symbolically. Toby using the bow of his violin to "grind the meat" was a part of the show as well!