#1
Posted: 10/4/05 at 6:29pm
Saw the first preview of the new SWEENEY TODD revival last night. The following isn't a formal review, but just some of the initial impressions I had. I see the show again after it's frozen, a few days before opening and may write a real review then.
Easily the most notable and remarkable aspect of this production is the multi-talented cast. I must say it was stunning to witness an ensemble which was capable of acting AND singing AND playing one of the most challenging scores ever created for the musical theatre (special kudos to Sarah Travis' orchestrations), and be able to do so with such utter proficiency and accomplishment. It's hard to take your eyes off of Patti Lupone (who's Mrs. Lovett has deepened appreciably since the concert version), Michael Cerveris (a strong voiced and dynamic Sweeney), Manoel Feliciano (a sweet-voiced Tobias), Donna Lynne Champlin (a virtuouso in every department) and the rest as they pull off this tour de force (I have some slight reservations with a couple of the acting performances, but I'll chalk that up to this being a first preview -- there's room for growth) . The cast is brilliant at managing their all their duties .......................and that's part of the problem with this striking, fascinating, yet somewhat misconceived production.
The whole "concept" in many ways detracts from an ideal presentation of the show. The cast is doing so many different things all of the time that it is a distraction from the actual telling of the story . I spent so much time going "Wow, Patti can really play a tuba" and "I can't believe Donna can shift from accordian to flute so quickly" and "How the heck can Feliciano sing 'Not While I'm Around' and play a violin solo at the same time?" that I was never really engrossed in the actual story. I was never for a moment transported to 19th century London -- I was constantly reminded I was watching actor/musicians on stage, as if I were watching another concert version.
Everything about this production is constantly upstaging itself with your focus being pulled in a half a dozen directions at once. Director John Doyle's staging repeatedly tries to do too many things at once, winding up with moments of just sheer visual clutter from time to time. His transitions frequently lack clarity and several key plot points (as well as several jokes) are missed or obscured (I'm sure this production will be confusing at times to those who don't know the show already), often due to the limitations that go with having actors lugging instruments around and having to play and act at the same time.
Also, his presentational style here -- where rather than have characters address each other directly when in conversation with one another, they direct their lines out to the audience -- is interesting stylistically, to a point, but occasionally undermines the narrative intent of scenes. I really don't think it was worth Doyle sacrificing clarity for style in most cases here, since there's nothing underpinning the stylistic choices -- too often, it's clear that the only reason Doyle has staged a moment a certain way is because it looks interesting -- no other reason. That's fine -- as long as, in so doing, you're not subverting or obscuring the text (and speaking of text, I noticed a few cuts her and there, notably in the Pirelli scene, in "God that's Good!" and various other scenes).
Bottom line, the nagging question I had throughout was -- Why? Why have all the actors playing instruments? As fun as it is to watch the performers, it too often detracts from the overall experience this masterpiece is capable of giving an audience.
The show opens with Toby in a straight jacket and gag in an asylum and the next two hours is what's going on in the imagination of this inmate, which gives the Doyle a lot of leeway to sort of justify his concept -- a sort of "Get Out of Jail Free" card against much of the criticism people might lodge against it, since, one would assume, "anything goes" in the head of a crazy person. Fine. But, why use this concept for SWEENEY TODD, in particular? What does having the performers do everything really ADD to the show?
In the last CABARET revival, much of the action was set in a nightclub and many of the characters were performers, so it made sense to have the band on stage and involved in the action. In the current revival of CHICAGO, Walter Bobbie and Ann Reinking removed any vestiges of naturalism that were in the original Fosse staging and set all the action on a stage, which heightened the vaudevillian aspects of the book and score and added resonance to the fact that most of the characters want to be in showbiz and/or be famous.
But in SWEENEY? Is there some reason that these (mostly) poor, damaged, desperate Victorian era denizens of the London slums are all classically-trained musicians? Does having the cast carrying and playing their instruments throughout, somehow enhance one's understanding of the plot or the score? Does this staging make some comment or statement -- subtle or otherwise -- on the meaning of the show (as did Hal Prince's original "factory" concept evoked how the industrial revolution served to dehumanize individuals, driving some insane)? Or is it -- as I suspect -- just a really neat gimmick?
I take it this whole actor/musician thing is Doyle's big trademark. He's apparently planning a production of COMPANY staged the same way, with the actor/musicians on stage (mmmmmmm ...... perhaps, that makes slightly more sense -- I would imagine some of Bobby's rich, well-educated, Manhattan urbanite friends might have taken a few music lessons in the past; certainly more likely for Joanne to be carrying around a tuba than for Mrs. Lovett or any of the 19th century inhabitants of Fleet Street). I just find it to be more of a stunt than any sort of clever or original directorial conceit. It really doesn't organically emanate from any aspect of the story or score and frankly, Doyle could use it with as much success to stage any show in the musical theatre canon. Doyle could start his own rep company presenting all of the great musicals (most shows have a character or two who is a bit unhinged, after all). He could have 10 actor-musicians (using much of the same set sans coffin, perhaps) enacting shows in the guise of the insane ramblings of a mental patient -- every show opens with one character in a straight jacket and then goes on from there. The marquee: "Now playing: SWEENEY TODD -- Next week: GYPSY -- Coming soon: IN MY LIFE" (which might totally make sense in this format -- have the show open with Joe Brooks in the straight jacket).
And look, I don't mean to be overly negative nor do I intend to dissuade anyone from seeing this show. While there are some basic flaws, there are also several strong and impressive moments here as befits such a well-cast production of a theatrical landmark. When the show can get out of its own way and let the performers simply shine, the production is absolutely thrilling. There are several splendid, goosebump-inducing moments where the show truly soars.
Make no mistake, this is a production very much worth seeing for its classic score and this sensationally gifted cast. I just happen to find the "concept," while certainly an intriguing and an entertaining "one-off," not to be ideal or definitive since it doesn't always serve the story well, tends to undermine focus and clarity and really adds nothing to (and, in fact, detracts from) the understanding and enjoyment of the material. Doyle's reconception is more flash and gimmickry than substance and while it's often entertaining, it's not always in the best interest of the piece.
Nevertheless, I would still say see it anyway. The score is a masterpiece and under no circumstances miss the most virtuosic ensemble of performers in town who sing and play it absolute confidence and aplomb. This is a unique re-thinking of a very important work and should be seen, regardless of any issues in the presentation. Ultimately, despite the drawbacks, this SWEENEY is still quite a memorable experience that any fan of theatre should make a point of taking in.
http://margochanning.broadwayworld.com/
Easily the most notable and remarkable aspect of this production is the multi-talented cast. I must say it was stunning to witness an ensemble which was capable of acting AND singing AND playing one of the most challenging scores ever created for the musical theatre (special kudos to Sarah Travis' orchestrations), and be able to do so with such utter proficiency and accomplishment. It's hard to take your eyes off of Patti Lupone (who's Mrs. Lovett has deepened appreciably since the concert version), Michael Cerveris (a strong voiced and dynamic Sweeney), Manoel Feliciano (a sweet-voiced Tobias), Donna Lynne Champlin (a virtuouso in every department) and the rest as they pull off this tour de force (I have some slight reservations with a couple of the acting performances, but I'll chalk that up to this being a first preview -- there's room for growth) . The cast is brilliant at managing their all their duties .......................and that's part of the problem with this striking, fascinating, yet somewhat misconceived production.
The whole "concept" in many ways detracts from an ideal presentation of the show. The cast is doing so many different things all of the time that it is a distraction from the actual telling of the story . I spent so much time going "Wow, Patti can really play a tuba" and "I can't believe Donna can shift from accordian to flute so quickly" and "How the heck can Feliciano sing 'Not While I'm Around' and play a violin solo at the same time?" that I was never really engrossed in the actual story. I was never for a moment transported to 19th century London -- I was constantly reminded I was watching actor/musicians on stage, as if I were watching another concert version.
Everything about this production is constantly upstaging itself with your focus being pulled in a half a dozen directions at once. Director John Doyle's staging repeatedly tries to do too many things at once, winding up with moments of just sheer visual clutter from time to time. His transitions frequently lack clarity and several key plot points (as well as several jokes) are missed or obscured (I'm sure this production will be confusing at times to those who don't know the show already), often due to the limitations that go with having actors lugging instruments around and having to play and act at the same time.
Also, his presentational style here -- where rather than have characters address each other directly when in conversation with one another, they direct their lines out to the audience -- is interesting stylistically, to a point, but occasionally undermines the narrative intent of scenes. I really don't think it was worth Doyle sacrificing clarity for style in most cases here, since there's nothing underpinning the stylistic choices -- too often, it's clear that the only reason Doyle has staged a moment a certain way is because it looks interesting -- no other reason. That's fine -- as long as, in so doing, you're not subverting or obscuring the text (and speaking of text, I noticed a few cuts her and there, notably in the Pirelli scene, in "God that's Good!" and various other scenes).
Bottom line, the nagging question I had throughout was -- Why? Why have all the actors playing instruments? As fun as it is to watch the performers, it too often detracts from the overall experience this masterpiece is capable of giving an audience.
The show opens with Toby in a straight jacket and gag in an asylum and the next two hours is what's going on in the imagination of this inmate, which gives the Doyle a lot of leeway to sort of justify his concept -- a sort of "Get Out of Jail Free" card against much of the criticism people might lodge against it, since, one would assume, "anything goes" in the head of a crazy person. Fine. But, why use this concept for SWEENEY TODD, in particular? What does having the performers do everything really ADD to the show?
In the last CABARET revival, much of the action was set in a nightclub and many of the characters were performers, so it made sense to have the band on stage and involved in the action. In the current revival of CHICAGO, Walter Bobbie and Ann Reinking removed any vestiges of naturalism that were in the original Fosse staging and set all the action on a stage, which heightened the vaudevillian aspects of the book and score and added resonance to the fact that most of the characters want to be in showbiz and/or be famous.
But in SWEENEY? Is there some reason that these (mostly) poor, damaged, desperate Victorian era denizens of the London slums are all classically-trained musicians? Does having the cast carrying and playing their instruments throughout, somehow enhance one's understanding of the plot or the score? Does this staging make some comment or statement -- subtle or otherwise -- on the meaning of the show (as did Hal Prince's original "factory" concept evoked how the industrial revolution served to dehumanize individuals, driving some insane)? Or is it -- as I suspect -- just a really neat gimmick?
I take it this whole actor/musician thing is Doyle's big trademark. He's apparently planning a production of COMPANY staged the same way, with the actor/musicians on stage (mmmmmmm ...... perhaps, that makes slightly more sense -- I would imagine some of Bobby's rich, well-educated, Manhattan urbanite friends might have taken a few music lessons in the past; certainly more likely for Joanne to be carrying around a tuba than for Mrs. Lovett or any of the 19th century inhabitants of Fleet Street). I just find it to be more of a stunt than any sort of clever or original directorial conceit. It really doesn't organically emanate from any aspect of the story or score and frankly, Doyle could use it with as much success to stage any show in the musical theatre canon. Doyle could start his own rep company presenting all of the great musicals (most shows have a character or two who is a bit unhinged, after all). He could have 10 actor-musicians (using much of the same set sans coffin, perhaps) enacting shows in the guise of the insane ramblings of a mental patient -- every show opens with one character in a straight jacket and then goes on from there. The marquee: "Now playing: SWEENEY TODD -- Next week: GYPSY -- Coming soon: IN MY LIFE" (which might totally make sense in this format -- have the show open with Joe Brooks in the straight jacket).
And look, I don't mean to be overly negative nor do I intend to dissuade anyone from seeing this show. While there are some basic flaws, there are also several strong and impressive moments here as befits such a well-cast production of a theatrical landmark. When the show can get out of its own way and let the performers simply shine, the production is absolutely thrilling. There are several splendid, goosebump-inducing moments where the show truly soars.
Make no mistake, this is a production very much worth seeing for its classic score and this sensationally gifted cast. I just happen to find the "concept," while certainly an intriguing and an entertaining "one-off," not to be ideal or definitive since it doesn't always serve the story well, tends to undermine focus and clarity and really adds nothing to (and, in fact, detracts from) the understanding and enjoyment of the material. Doyle's reconception is more flash and gimmickry than substance and while it's often entertaining, it's not always in the best interest of the piece.
Nevertheless, I would still say see it anyway. The score is a masterpiece and under no circumstances miss the most virtuosic ensemble of performers in town who sing and play it absolute confidence and aplomb. This is a unique re-thinking of a very important work and should be seen, regardless of any issues in the presentation. Ultimately, despite the drawbacks, this SWEENEY is still quite a memorable experience that any fan of theatre should make a point of taking in.
http://margochanning.broadwayworld.com/
"What a story........ everything but the bloodhounds snappin' at her rear end." -- Birdie
[http://margochanning.broadwayworld.com/]
"The Devil Be Hittin' Me" -- Whitney
Updated On: 10/4/05 at 06:29 PM
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