#26
Posted: 10/4/05 at 12:17am
I think Sarah Travis is a lock to win the orchestrations Tony. Thats as obvious as giving Twyla Tharp the choreography award for Movin Out.
SWEENEY TODD First Preview — Page 2
#27
Posted: 10/4/05 at 12:19am
How was the set? show curtain? etc. I like technical stuff. Thanks. Can not wait for this cast recording! Sweeney & IN my Life w/in days of each other - wow.
#28
Posted: 10/4/05 at 12:22am
The set is basically a thrust platform of wood planks that extends up the back wall. On the back wall is a enormous shelving unit covered in bizarre and macabre nicknacks. Most of the props come from these shelves.
There is a stand up piano at the back of the stage and a few chairs. That's about it. Most of the action is played on a wooden coffin that becomes the boat, the counter in the pie shop, the judge's podium ,etc.
There is a stand up piano at the back of the stage and a few chairs. That's about it. Most of the action is played on a wooden coffin that becomes the boat, the counter in the pie shop, the judge's podium ,etc.
#29
Posted: 10/4/05 at 12:26am
Michael Bennet beat me to it on the set, but I do have a question/observation.
The one thing that bugged me was when characters would be talking to each other but they would be facing straight forward. It worked sometimes, but I thought it was most awkward in the first scene with Anthony, Sweeney and the Beggar Woman. It just felt weird with them all facing forward and having Anthony way up in the corner. It was also weird how the Beggar Woman says "Thank you, sir, thank you" but Anthony never her gave her anything.
The one thing that bugged me was when characters would be talking to each other but they would be facing straight forward. It worked sometimes, but I thought it was most awkward in the first scene with Anthony, Sweeney and the Beggar Woman. It just felt weird with them all facing forward and having Anthony way up in the corner. It was also weird how the Beggar Woman says "Thank you, sir, thank you" but Anthony never her gave her anything.
Updated On: 10/4/05 at 12:26 AM
#30
Posted: 10/4/05 at 12:39am
I love stylized theater - if done right. I think even though something is stylized it should have purpose and meaning and motive for being the way it is - not saying Sweeney isn't - i haven't seen it. I'm dying to see this show now, its sounds very interesting. If only.
#31
Posted: 10/4/05 at 1:09am
I just got home and loved every minute of this production!!! After some reflecting, I'd like to bring into discussion the 'razer'. I know its a minimalist production but can't they at least have something substancial for the razor...it was this dinky little blade..
I also was told by some friends on the train home that were seated in the back of the orchastra that five people left at intermission. Either way, this production is not for everyone and as is with most Sondheim shows, unacessable to those unfamilar with the story.
Afterwards, at the stage door Patti LuPone commented on how great of an audience we were. Well, it seemed quite obvious when even before "A Little Priest" people started to laugh! I love SOndheim shows!
Overall, wonderfully brillant production of this masterpiece! I am so excited and thrilled I got to witness the first preview.
I also was told by some friends on the train home that were seated in the back of the orchastra that five people left at intermission. Either way, this production is not for everyone and as is with most Sondheim shows, unacessable to those unfamilar with the story.
Afterwards, at the stage door Patti LuPone commented on how great of an audience we were. Well, it seemed quite obvious when even before "A Little Priest" people started to laugh! I love SOndheim shows!
Overall, wonderfully brillant production of this masterpiece! I am so excited and thrilled I got to witness the first preview.
Happy...Everything!
Kaye Thompson
#32
Posted: 10/4/05 at 1:10am
I just got back. I didn't really like it. Lupone was annoying and can't hold a british accent to save her life!!!
Cerveris was pretty bad. Felt no pity for him and vocally he failed.
Sondheim was there though. Nice to see him. As was John Lithgow.
Cerveris was pretty bad. Felt no pity for him and vocally he failed.
Sondheim was there though. Nice to see him. As was John Lithgow.
"One difference between poetry and lyrics is that lyrics sort of fade into the background. They fade on the page and live on the stage when set to music". - Stephen Sondheim
#33
Posted: 10/4/05 at 2:11am
Right...you seem like a really intelligent person...
"If you are going to do something, do it well. And leave something witchy."
-Charlie Manson
#34
Posted: 10/4/05 at 2:13am
my big question is, are there any major cuts in the book or score for this concept?
Attend the tale of Bovine Boy
His party threads we all enjoy
But does he have Mad Cow Disease?
He doesn't eat beef - but cows skating? - oh please!!!
With cocoa!?!
And lemonade!?!
The heifer-mad poster of Broadway
(World)
#35
Posted: 10/4/05 at 2:14am
No, not at all. The book actually seemed more plentiful here than in the original. Even though that's not so, the way it was staged and directed was less like an opera.
"If you are going to do something, do it well. And leave something witchy."
-Charlie Manson
#36
Posted: 10/4/05 at 2:21am
for the "chorus narration songs/solos during the show, do those not playing in the band sing them?
Attend the tale of Bovine Boy
His party threads we all enjoy
But does he have Mad Cow Disease?
He doesn't eat beef - but cows skating? - oh please!!!
With cocoa!?!
And lemonade!?!
The heifer-mad poster of Broadway
(World)
#37
Posted: 10/4/05 at 2:22am
"right you seem like a really intelligent person"
What is that about? I can't have an opinion on the show?
I love "Sweeney Todd". It is one of my all time favorite shows. That doesn't mean I have to like this production, which I did not.
You're gonna tell me Lupone did a great job as an actress? She can't hold an English accent? This is a problem that has plagued her since she first began playing the part of Mrs. Lovett.
Cerveris' voice was not strong enough here. I'm sorry if you disagree but it's the truth. The chemistry that was mastered by Lansbury and Cariou is nowhere to be seen in this production. It's more like watching a mother and her son.
What is that about? I can't have an opinion on the show?
I love "Sweeney Todd". It is one of my all time favorite shows. That doesn't mean I have to like this production, which I did not.
You're gonna tell me Lupone did a great job as an actress? She can't hold an English accent? This is a problem that has plagued her since she first began playing the part of Mrs. Lovett.
Cerveris' voice was not strong enough here. I'm sorry if you disagree but it's the truth. The chemistry that was mastered by Lansbury and Cariou is nowhere to be seen in this production. It's more like watching a mother and her son.
"One difference between poetry and lyrics is that lyrics sort of fade into the background. They fade on the page and live on the stage when set to music". - Stephen Sondheim
#38
Posted: 10/4/05 at 2:22am
I don't know why people feel like that have to re-invent classic shows. SWEENEY does not need gimmicks, like characters walking around the stage carrying musical instruments that detract from the dramatic impact of the piece. This is just my opinion, so don't freak out, and I have a right to voice it. Thanks!
#39
Posted: 10/4/05 at 2:27am
Nog: I didn't say you didn't have a right to voice your opinion, but you did it in a rather obnoxious way that made you look very stupid.
jfc: You don't know why people feel the need to re-invent classic shows? What's the point of bringing a show back if you're going to do it exactly like it was done before? So much for a director's vision? What's the point of having a director for a show if you're just going to do a show the same way every time? SWEENEY does not need gimmicks, you're right - that's why there are none to be found in this production. If you think the choice of having the cast double as the orchestra is a gimmick, then you're very mistaken. A gimmick is having a green woman on a forklift - not a beautiful, sensational choice to have the instruments played by the actors. And it didn't detract from the dramatic impact of the piece at all. You haven't seen this yet, how can you say that? In fact, I was more moved by this production than I was by the original. Give it a chance.
jfc: You don't know why people feel the need to re-invent classic shows? What's the point of bringing a show back if you're going to do it exactly like it was done before? So much for a director's vision? What's the point of having a director for a show if you're just going to do a show the same way every time? SWEENEY does not need gimmicks, you're right - that's why there are none to be found in this production. If you think the choice of having the cast double as the orchestra is a gimmick, then you're very mistaken. A gimmick is having a green woman on a forklift - not a beautiful, sensational choice to have the instruments played by the actors. And it didn't detract from the dramatic impact of the piece at all. You haven't seen this yet, how can you say that? In fact, I was more moved by this production than I was by the original. Give it a chance.
"If you are going to do something, do it well. And leave something witchy."
-Charlie Manson
#40
Posted: 10/4/05 at 2:31am
"Nog: I didn't say you didn't have a right to voice your opinion, but you did it in a rather obnoxious way that made you look very stupid."
Ummm i don't know why it made me look stupid. I stand by what I said. I could have written an essay about it but I think my point came across.
I didnt even hate this production. I just didn't like it very much. I think had they cast the leads right it would have been pretty amazing. I understand people love Lupone. I just think she is too easily classified a legend. Her voice can be hard to take these days and the accent bothered me. Don't blame me, blame Lansbury.
Ummm i don't know why it made me look stupid. I stand by what I said. I could have written an essay about it but I think my point came across.
I didnt even hate this production. I just didn't like it very much. I think had they cast the leads right it would have been pretty amazing. I understand people love Lupone. I just think she is too easily classified a legend. Her voice can be hard to take these days and the accent bothered me. Don't blame me, blame Lansbury.
"One difference between poetry and lyrics is that lyrics sort of fade into the background. They fade on the page and live on the stage when set to music". - Stephen Sondheim
lol.
#42
Posted: 10/4/05 at 8:10am
Probably a dumb question, but here goes:
The actors don't really PLAY the instruments do they? I've read many accounts of this show, and they all imply that the actors actually play the instruments.
This is not true, correct? I assume they're pretending to play the instruments, while the real orchestra in the pit provides the real music?
The actors don't really PLAY the instruments do they? I've read many accounts of this show, and they all imply that the actors actually play the instruments.
This is not true, correct? I assume they're pretending to play the instruments, while the real orchestra in the pit provides the real music?
#43
Posted: 10/4/05 at 8:15am
the actors do play the instruments....there is no orchestra.
#44
Posted: 10/4/05 at 8:18am
Good Lord. That really makes me want to stay home.
Updated On: 10/4/05 at 08:18 AM
#45
Posted: 10/4/05 at 8:35am
Regarding the accents -- its was pretty clear to me that they weren't going for strict British dialect. Pirelli, when stepping out of disguise, for example, makes absolutely no attempt at a British dialect at all. This is clearly a directorial choice.
This production isn't about creating a natural experience. The show is no more literally set in London then it is literally set in an asylum.
You either get it, or you don't.
And John, for the record, they all play the instruments incredibly well.
Regarding the walk outs -- I noticed a few people who left at intermission, but I think that has more to do with the material and less with the production. Every production of SWEENEY I've ever seen has had walk outs -- meat pies are not, obviously, to everyones...taste.
Oh and regarding the buckets of blood. Personally, I find this effect chilling. Particularly when you realize the body holds about 5 liters of blood (i.e. one bucket full). And the sound of absolute silence on stage except for the sound of the rushing fluid was singularly disturbing.
This production isn't about creating a natural experience. The show is no more literally set in London then it is literally set in an asylum.
You either get it, or you don't.
And John, for the record, they all play the instruments incredibly well.
Regarding the walk outs -- I noticed a few people who left at intermission, but I think that has more to do with the material and less with the production. Every production of SWEENEY I've ever seen has had walk outs -- meat pies are not, obviously, to everyones...taste.
Oh and regarding the buckets of blood. Personally, I find this effect chilling. Particularly when you realize the body holds about 5 liters of blood (i.e. one bucket full). And the sound of absolute silence on stage except for the sound of the rushing fluid was singularly disturbing.
Updated On: 10/4/05 at 08:35 AM
#46
Posted: 10/4/05 at 8:59am
Yes, the buckets of blood was one of my favorite things.
#47
Posted: 10/4/05 at 9:11am
I also loved that part. I thought it was brillantly chilling!
Happy...Everything!
Kaye Thompson
#48
Posted: 10/4/05 at 9:21am
Based on last night's show, do you think the show will still be running in May or June? I am trying to get there the earliest I can in May and I must see Sweeney a couple times..
#49
Posted: 10/4/05 at 9:23am
A word of advice: DON'T BE LATE! You will be standing for a long time.
I was in the Mezz and a family of four was seated next to me and they were late and were not seated until about 45 minutes into the show. I saw them standing on the side waiting to be seated. There is no break for applause until after Johanna and that is the only applause break in the entire show. There is no break for applause in the second act at all.
The atmosphere of the show is extremely delicate and could be easily disrupted by late comers.
I was in the Mezz and a family of four was seated next to me and they were late and were not seated until about 45 minutes into the show. I saw them standing on the side waiting to be seated. There is no break for applause until after Johanna and that is the only applause break in the entire show. There is no break for applause in the second act at all.
The atmosphere of the show is extremely delicate and could be easily disrupted by late comers.
#50
Posted: 10/4/05 at 9:25am
I saw the production of Sweeney Todd in London, on which this concept is based. I found it creative, and in general I didn't miss the trappings of the larger musical stagings (although I still think that the Brian Stokes Mitchell / Christine Baranski production mounted at the Kennedy Center a few years ago should have gone straight to Broadway).
From reading these posts, it sounds as though there are few changes from the London production. The items that bothered me the most in London were: 1) The costumes (Mrs. Lovett in leather skirt... puhleeze), and 2) I think the most powerful line in the show is Sweeney's line near the end (this shouldn't spoil it for those unfamiliar with the show) - "Don't I know you, she said." The fact that Sweeney stood upstage to deliver that line, while the object of the line was downstage left, diminished the power (in my opinion) of that line delivery.
No one has mentioned costumes. I'm curious.
Ray
From reading these posts, it sounds as though there are few changes from the London production. The items that bothered me the most in London were: 1) The costumes (Mrs. Lovett in leather skirt... puhleeze), and 2) I think the most powerful line in the show is Sweeney's line near the end (this shouldn't spoil it for those unfamiliar with the show) - "Don't I know you, she said." The fact that Sweeney stood upstage to deliver that line, while the object of the line was downstage left, diminished the power (in my opinion) of that line delivery.
No one has mentioned costumes. I'm curious.
Ray
Ray is the author of the Brad Frame mystery series, and two suspense novels. He is also the author of a one man play based on Ben Franklin. http://www.rayflynt.com
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