Reviews: The Woman in White & Sweeny Todd [now added]

[BSoBW2]

Posted: 1/12/06 at 1:09pm

THE WOMAN IN WHITE
“The Mixing of Media”

1/11/06
Matinée

Secrets kept inside can hurt you
Mine is sharper than a knife
If I tell the one I seek
I may save her life

‘Typical Andrew Lloyd Webber’ is one way to describe his new musical, The Woman in White. The problem is this only refers to the repetitive nature of the music throughout the show – repetitive and often anti-melodic. The show follows Faux-Opera-Webber, as opposed to Rock-Opera-Webber. The score closely resembles that of Phantom, minus the rock beat (now, to say Phantom has a rock beat compared to The Woman in White is saying something).

You can expect, of course, in the style of Wildhorn, a rather dry score (though Webber is much more convincing with his music than Wildhorn). Even the more upbeat numbers somehow seem dry (such as “Lammastide” – a rather Victorian square dance). Of all things, however, this song is very subject-specific, unlike the typical “Music of the Night” or “All I Ask of You” music written for The Woman in White. Yet there are a few songs that stick out, such as the beautifully haunting “All for Laura,” the comedic (and yes, through cheap rhymes it reaches comedic stance) “I Hope You’ll Like It Here,” the beautiful love duet “I Believe My Heart,” and the show-stopping, rat duet (yes, a real white rat) “You Can Get Away with Anything.” The rest of the music is something out of a Webber catalogue. Webber has created theme rhythms for almost all the characters’ names (believe it!). If you can make it through Act I, however, I promise Act II is overall more musically thrilling.

Fear not, however. Despite the often insipid score, it is quite difficult to get bored during the show for two reasons.

The first is the amazingly talented cast. Maria Friedman soars above the rest, keeping the show flowing on. It is no secret she is the woman of the hour, but it’s no exaggeration either. Adam Brazier, the teacher, and Jill Paice, the sister, complement each other beautifully. And much enjoyed are the appearances by Angela Christian as the often-shrieking Ann Catherick, the Woman in White, and the slimy Ron Bohmer. One member, of the cast, must receive special recognition – Daniel Marcus as Count Fosco. Not only is Marcus enjoyable, but he is also rouses the audience from his first moment on stage, with a cute mouse and the rest of his menagerie (Is fosco Italian for bestiality?). And on an empty stage, his presence is big – and not because of the fat suit.

The second reason this show will keep you awake is the set. Well, the projections. Unfortunately, the projections are a double edged sword, like all swords. On one hand, it is absolutely breathtaking to watch the projections change, as they move you around the world. The depth and detail is stunning. That’s what they are. Completely stunning. Too bad they steal the show – in a bad way. There is a projection overload as it shows you a 360 degree look of the Limmeridge mansion before, for good measure, taking you through the nearby hills, alive with the sound of Webber. Often times, the projections are more entertaining than the material itself. One thing must be said: the projections know what they are doing. In the comic scenes, the projections are actually quite comic in the way they appear. It’s almost too ingenious to be worthwhile. (And, as a side note, they WILL cause dizziness. The show begins with a spinning table that turns into a train ride. As it spins, you will feel like you just stepped off a roller coaster – and this is just the first 2 minutes of the show!) Yet suffering through the projections is all a set-up for the very end – which will make your hair stand on end.

Only one thing can be said of Trevor Nunn’s direction – it had the projections in mind. It made the best of the moving projections, but was always overshadowed. Just imagine watching people in front of a 3D IMAX.

The mystery story is not as enthralling as you may think – if you think it may be. It is rather predictable, though it keeps the audience guessing at intermission – and many people were trying to figure it out. David Zippel’s lyrics are trite at times and, well, stupidly comedic at other times. Rhymes are often forced. Though there was one rhyme that aroused the entire audience – “Nothing’s duller/Than my water color…ing” Perhaps this is a break from the obvious over-rhymes (poets take note) in the previous song.

The show asks “Can you get a dizzy thrill/While the world is standing still?” Unfortunately, the only thing that doesn’t stand still is the world. It isn’t necessarily Webber’s best work, but hey – it’s no Cats!

SWEENEY TODD review coming next!




Updated On: 1/12/06 at 01:09 PM

[YayJudyYayJudy]

Posted: 1/12/06 at 1:18pm

I'm glad that you too enjoyed the rhymes in "I Hope You Like It Here" - personally, some of my favorites. Who says you can't open your show rhmying "cranky" and "hanky" - it's brilliant

Updated On: 1/12/06 at 01:18 PM

[Pippin]

Posted: 1/12/06 at 1:31pm

thanks for the input. I am seeing it on the 25th., and am looking foward to it.

[WesternSky2]

Posted: 1/12/06 at 1:37pm

Great review. It's definitely next on my list to see when I get back to the city..

[WiCkEDrOcKS]

Posted: 1/12/06 at 4:11pm

I'm going on Saturday, thanks for the input.

[Rebekah]

Posted: 1/12/06 at 4:28pm

"The first is the amazingly talented cast. Maria Friedman soars above the rest, keeping the show flowing on. It is no secret she is the woman of the hour, but it’s no exaggeration either."

That is a beautiful compliment!!! I hope she sees it somewhere along the road!!!

Glad you enjoyed the show! I sure did!!!!

[bwayondabrain]

Posted: 1/12/06 at 4:41pm

very nice review!
i hope to see this in july, and cant wait!


and i cant wait for your sweeney review!!!

:)

[BSoBW2]

Posted: 1/12/06 at 5:31pm

Thanks for all your great comments guys!

SWEENEY TODD
“The Same Oven, A Different Pie”

1/11/06
Evening

Think how snug it'll be
Underneath our flannel
When it's just you and me
And the English Channel.
In our cozy retreat,
Kept all neat and tidy,
We'll have chums over every Friday
By the sea

Sweeney Todd is a brilliant work of musical theatre that would be difficult to butcher. With great actors an innovative concept the new revival of Sondheim’s Sweeney Todd should be brilliant. Guess what! It almost is.

Putting a few conceptual flaws aside (flaws that can’t be overlooked), the new production at the O’Neil Theatre is, without a doubt, the best production on Broadway today. It’s feat is simple: originality. It put Hal Prince’s Sweeney Todd in the oven and creates a whole new pie.

The minimalist approach with actor/musicians is surely a great deal of fun to watch. But who’s that playing the piano? Wait, wasn’t that guy playing it? Blood? What? And the curtain goes down. While it isn’t that severe, Sweeney Todd requires full attention to be paid to the work. John Doyle’s staging, however, did not take his minimal approach far enough…or maybe he took it too far. It was exciting to watch the talented cast play Sondheim’s score with, what seemed like, ease and wail out those notes (not to mention a side of acting). But focus often shifts from the actor to the musician. Fortunately, Doyle was shrewd enough to remove immense staging.

But he did not make it any easier to understand the story. For those who never saw Sweeney Todd, the staging only diminished the clarity of the story. There were, of course, beautiful tableaus of powerful images. There were also weak moments of staging - moments in which characters would not interact one minute, then interact the next, for reasons I do not fully understand. This device worked well at creating vertical physical relationships between characters. On a horizontal plane, however, it was muddled.

It must be said, though, that this revival of Sweeney Todd is much welcomed. Not only is it a chance to see the show, but a chance to see something completely different than Hal Prince’s realistic approach as an Industrial Revolution satire.

On a personal level, I was never fully convinced of the dark nature of the show. Patti LuPone’s Mrs. Lovett was exceptional in this production (and we can’t really compare actors in this production with actors of another) and scored heavy points as she darkened the humor (though it’s always been somewhat dark). Michael Cerveris, who may not be as powerful as Sweeney should be, still gave a wickedly twisted performance. Yet, and this is not necessarily Cerveris’ fault, there was no dramatic moments building up to the final discover of who the Beggar Woman truly is. I never felt sorry or sad for Sweeney’s plight. Sweeney, in this production, never despaired – as might be expected by his weaker nature. (Don’t confuse a weaker nature for a twisted man.)

There was never a so-called “diva” moment on stage. Since all actors were always on the stage, there was no “entrance moments.” The cast seemed very real, whether playing instruments, or just acting. No matter what they were doing, actors were always in character and all appeared very comfortable on the stage. The word relaxed comes to mind, but seems too negative. In fact, I mean this in the most positive way possible. The best cases are LuPone, Felciano (Tobias), and Molina (Johanna) who walked freely about the stage as if they were wandering spirits. Hard to explain, but beautiful to watch. (Beautiful when it isn’t distracting or detracting from the performance.)

This new production, costumes and set, is stunningly beautiful to look at – in the terms of the show. The lighting only enhances the production, creating separated moments that come together as a whole.

The cast is truly an ensemble cast – they all help one another. Stand outs include Lauren Molina (Johanna) who adds many comedic moments, be it as Johanna or the Cellist. Manoel Felciano has a start-turn in this show as an effective Tobias – innocent and touching. In his performance, he represents this hauntingly bewitching production. Last, and certainly not least, Donna Lynne Champlin (who not only captivates the audience as Pirelli, but also leads the musicians) and Diana Dimarzio’s foreboding Beggar woman. The rest of the cast skillfully sings (and plays) Sondheim’s music effortlessly.

The actor/musician concept is not for naught. The instruments are never really used as just instruments. They are used as musical props. They represent birds, they represent tools of mocking, they represent bonds between actors, and many more things that only your imagination can fathom.

Is it seeing La LuPone shake her tush as she plays the tuba? A new approach at a beautiful piece? The brand new orchestrations with an eerie ‘string’ feel? Or is it watching the 10-person cast work as a whole?

Whatever it is, this production is worth seeing.


Updated On: 1/12/06 at 05:31 PM

[#1Elphie]

Posted: 1/12/06 at 5:37pm

GREAT reviews for both shows. Thanks for sharing! You voiced things about Sweeney Todd that I agree with but hadn't considered before, especially about Sweeney's character. I agree with your general opinions of both shows and I loved reading what you had to say.

[smartpenguin78]

Posted: 1/12/06 at 5:51pm

I like your SWEENEY review, you make many valid points. I totally disagree about Sweeney himself though, to me this production has a Sweeney who displays much more despair than the others. I felt more for his plight because of the portrayal of the character, although the staging is still a bit distracting.

I agree wholeheartedly with the comments on the supporting cast, Molina and Felciano are magnificent.

[BSoBW2]

Posted: 1/12/06 at 6:56pm

SP - Sorry, yes, I agree he was despaired from the beginning. I felt that this minimized the imapct at the end. Like, I already felt sorry for him - so I didn't really at the end.

[BSoBW2]

Posted: 1/14/06 at 2:27am

Isn't it weird...I still have some of the Woman in White tunes in my head...the whole production is still affecting me...Sweeney's gone, but the Woman in White's there!

I did enjoy the show.
I wish they had rush or something (ugh, ALW)...so I could see Michael Ball.

[smartpenguin78]

Posted: 1/14/06 at 2:37am

I got my tickets from TDF.
I flushed the WIW score from my head the moment I left the theatre.
SWEENEY is still there and it has been over a month.
Did I mention it was last night I saw WIW?

I cared about Sweeney from the begining, because he despaired. In other productions he often seems more "unhinged" from the begining and only realizes what he has done at that last moment. For me in this show the moments add up, and then at the end he realizes he is unhinged. It works and makes all the events leading up seem more relevant.

[Roninjoey]

Posted: 1/14/06 at 2:55am

Hah, of course you have WiW still in your head, ALW has been recycling all those songs for years :P J/k, but I have to say "I Believe My Heart" is the most criminal song ever written and the lyricist should be burned in effegy for it.

Nice reviews though. Thoughtful and constructive, and I agree about Cerveris. Maybe an older Sweeney. Is Len still alive? George is.

[smartpenguin78]

Posted: 1/14/06 at 3:02am

Len is still alive, he does not sing much anymore though (certainly not Sweeney.)
Older Sweeney's have been done, I am really glad it is not Hearn again though.

[Roninjoey]

Posted: 1/14/06 at 3:09am

I was only joking, although I think Cerveris is older than I think he is.

[smartpenguin78]

Posted: 1/14/06 at 3:11am

He is. And I know you were, but God knows we don't need another death rumor around here.

[BSoBW2]

Posted: 1/14/06 at 5:40pm

I believe my heart
It believes in you

Terrible lyrics...but I actually like the music - better on the CR than live I think.

[sabrelady]

Posted: 1/14/06 at 7:26pm

Very well written review. Almost makes be reconsider WIW.

[ljay889]

Posted: 1/14/06 at 7:31pm

Cerveris dosen't look his age AT ALL.

To me - he looks like he is still in his 20s.

[Isabella2]

Posted: 1/14/06 at 11:06pm

BSoBW2, i absolutley adore your review, if you are not already a professional writer, you should become one. although i have to personally dissagree with you on one thing.

"But he did not make it any easier to understand the story. For those who never saw Sweeney Todd, the staging only diminished the clarity of the story. There were, of course, beautiful tableaus of powerful images. There were also weak moments of staging - moments in which characters would not interact one minute, then interact the next, for reasons I do not fully understand."

On October 5th, I'd seen Sweeney Todd for the first time in my life. From the moment the curtain rose, to the moment it fell, my face was streamed with tears. Surprisingly, and I know this may have not have been the case for everyone, I understood absolutely everything. I'd never or heard any of the dialouge or music before, with an exception of two songs, but I was still able to follow everything that was going on. I thought the clarity probably could have been slightly better, but if someone like myself could understand everything, I don't see how anyone else couldn't.

on another note, the somewhat "horizontal acting" was interesting. I thought it worked because of the sound cues which Patti had to control, the lack of people and the small stage area. I think doyle wanted it to look like that the audience could see the character's reaction from the other character's point of view. also the fact that he did it more than once showed consistancy.

[AngusN]

Posted: 1/15/06 at 6:10am

BSoBW2- I can't help but feel you contradicted yourself in the 'Sweeney Todd' review. You referred to it as "without a doubt, the best production on Broadway today", however, before most of the positive comments, you made a negative remark. That tells me that you don't think much of the shows on Broadway at the moment, if the show that is "without a doubt" the best show has a huge BUT.

[Wanna Be A Foster]

Posted: 1/15/06 at 7:10am

OK honey, this is killing me. It's SweenEy Todd, with an E before the Y. :)

[AlmostFamous]

Posted: 1/16/06 at 9:02am

I thought WIW was amazing! The projections were a little over the top, nut the score was anything but dry. "I hope you like it Here" is supposed to be a cheesy song, but it was humerous. I'm assuming that since you saw Daniel Marcus- Michael Ball was out. Well i have seen the show 3x once with MB and another with Norman Large as Count Fosco and they were both very good! I definately suggest going to see the show.

[BwayBaby18]

Posted: 1/16/06 at 10:09am

I loved WiW but hated the projections. I mean yes the music isn;t first rate but i think it was excellent as for sweeny i see it thursday