SWEENEY TODD First Preview

Just back from the first preview of SWEENEY. As in London, I found this production thrilling. There will be those who complain that its too stylized, too avant garde, too minimalist, too confusing -- but it is intensely theatrical and unlike so many things on Broadway today, the work of a director's singular vision.

The cast is remarkable. I was worried that the show wouldn't work without the London ensemble, but just about everyone here tops their UK counterparts. The show is superbly sung and played. The orchestrations are endlessly fascinating.

I didn't much care for LuPone on the concert DVD, but in the hands of a great director, she is has some moments that are truly astonishing. Ditto Michael Cerveris, who lacks the vocal power of say George Hearn, but has the quiet frightening intensity of Len Cariou.

My two favorites in this production, though are Donna Lynn Champlin -- a riot as Pirelli and a genius at conducting the troup, and Manoel Feliciano, who I think is the best Tobias I've seen.

House was full and the audience seemed mesmerized. LuPone had a few vocal flubs in BY THE SEA, but she was a trouper and pressed through it.

Let the debate begin...this is another production that simply has to be experienced.

Updated On: 10/3/05 at 11:03 PM

I mentioned the singing Munk, because that was a complaint many had with the London production. The singers there were very eratic. The acting in both productions is terrific.

Updated On: 10/3/05 at 11:09 PM

Yes

Great, then I'm getting my tix this week.

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Oh, one thing I can't take is that whistle!! I know when it comes but still jump at it...how bad is it?

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Oh, well either way, I'll know when it happens and still jump, lol.

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It started late (the opened the house late), but it was easily 2.30 minutes

Can you give me some spoilers? How was the asylum thing tied in? What made the ending so terrifying as some people said? Please tell me some juicy tidbits about this revival! Please reply asap. Thanks.

The asylum is just a framing device. If you try to literally interpret the play as taking place in an asylum, it doesn't work. It's very obvious if you pay attention that there is action that happens before the prologue and that the play "ends" before the last prologue.

Both of these actions are conducted in complete silence. And by the end you could have heard a pin drop.

Loved every aspect of this production. The cast/musicians, direction, minimalist set, everything.

I have to admit, it took me a good fifteen minutes or so to really warm up to this new interpretation. But after that initial handicap, I started to be completely mesmerized.

With that being said, I was seated around a few geriatrics that hated it. But I suppose that is to be expected. Also, there were two or three people who left at intermission. I know because they were sitting near me.

Word to the wise: Don't go in expecting to hear LuPone belting to the rafters. Her vocals are very subdued and it works perfectly given the production. Completely different performance than the one she did for the concert DVD. Almost as if it were a completely different woman.

GO SEE IT!

Please PM me with spoilers. Please - come on I'm dying to know..

I think there is dramatic purpose to the instrumentations. Sarah Travis has brilliantly reorchestrated the show so that the instruments are literally an extension of the characters personalities. Anthony and Joanna for example, both play the Cello and often play in unision as an extension of their relationship etc.

Well okay I will be the first to post an opposing view. May I preface this by saying that I would really appreciate a calm discussion about this without personal attacks made on those with a different opinion. Maybe I'm preaching to the choir, but we all know it happens around here.


First of all-I have an issue with "concepts". That is because roughly 90% of the time they don't make sense. This was no exception. I did not get the through line with the mental hospital. I did not see what it added or what it brought out in the show. Anyone who can explain this to me, I am all ears. Seriously.

2) I realize that in revivals the music is often adjusted to fit the needs of the new version. However, as an avid lover of this score, I was bothered by many of the things that were taken out or altered-one example is that blaring "BUM BUM" when Sweeney finds out that the Beggar woman is his wife. This was not there tonight. On a side note to that-that is one of the most devastatingly beautiful scenes in musical theatre, and it was completley thrown away in the staging. I missed seeing him cradle her dead body.

3) What was with the buckets of blood? I thought of Carrie for a minute-not that I was fortunate enough to have seen that, but I've read the legends.


4)The instruments got in the way. It was cool at first but after awhile it just seemed to be hindering the actors. I hated that Toby played the violin during "Not While I'm Around" And Lauren Molina is so small it is almost comical to see her lugging her cello around.


5) How come they kept climbing up on that ladder?

6) I'm sorry. I just do not see what the fuss is about with Michael Cerveris. He did not even come close to doing it for me in this production. I was not scared of him, nor did I feel sorry for him. I'd take one or the other, though idealy I think Sweeney needs both. But I just found him annoying. And vocally he can't hold a candle to his predecessors.

7) Some other classic moments in the show were altered, although I was happy to see that the famous door slam at the end was kept.

8 ) Several sections of dialogue that allow us to relate better to the characters were cut, which distanced me. Especially Toby. His dialogues with Mrs. Lovett were cut so when "Not While I'm Around" came around it seemed like a brand new relationship.

9) What the hell was the little white coffin box? Why was he cradling it? Did it represent the chair? It think so-but how?


I could go on, but how about some positives?

-Manoel Feliciano (Tobias), Donna Lynne Champlain (Pirelli), and Mark Jacoby (Judge Turpin) were outstanding. Sounded wonderful and brought such life to their characters.

-Patti LuPone surprised me. I am not a fan of her performance on the concert DVD, but her take this time was molded to suit the production, and I thought she really pulled it off well. I liked the more menacing relationship between Todd and Lovett in this one-she seemed to truly fear him.

-The lighting is gorgeous, and I did like the set very much, even though I didn't get why it was used.

-Having smaller number of instruments and vocalists certainly did not take away from the glorious score.

-There were several comic moments in the show that I hadn't grasped before-unfortunately at the moment I am too brain dead to think of what they are.

Overall I'm glad I went-it is a very educational experience whether you like the concept or not. And I'm always game to hear that score. I am eager to hear what educated, intelligent people have to say. I am not eager to read the hate mail. Oh well. Comes with the territory I guess.