Sweeney Todd

Posted: 3/5/04 at 11:19pm

So, who was I sitting next to after I moved down from the third ring to the orchestra at Intermission? It was someone entirely too knowledgable about Broadway musicals.... Bulldog, I'm looking in your general direction (I unfortunately didn't ask the guy if he wore Brooks Brothers boxers).

I was also sitting next to the two most obnoxious girls I've ever sat next to. I won't say whose direction I'm looking in for that one (relax, papa, it's not you).

Elaine Paige was an astounding Mrs. Lovett, somewhere in between Angela Lansbury and Patti Lupone. Her numbers were by far the best and the audience seemed most responsive to her (it also says something when she gets the final bow, even after Sweeney). She played a Mrs. Lovett whose need to delude Sweeney out of her own desires is waltzed with throughout the entire piece, culminating in the finale.

Timothy Nolen, however, I wasn't a huge fan of. He truly needed to be pulled in at times because he became so overt, particularly during the Epiphany and Finale. His voice was wonderful, but shadowed by his.... pardon the pun.... execution. Updated On: 3/5/04 at 11:19 PM

[Corine2]

Posted: 3/5/04 at 11:20pm

How was the show?

Posted: 3/5/04 at 11:29pm

See above remarks. If I didn't have a writing deadline, I'd say more. Suffice it to say, Sondheim and City Opera have an excellent marriage. I hope to see them expand upon their current Night Music/Sweeney rep.

I also hope to see Eugene Lee do more set designs for NYCO. He never fails to create a stunning visual.

PS--There's a great write up on the other Benjamin Barker, Mark Delavan, in the times today. I may go back to see his performance. Updated On: 3/5/04 at 11:29 PM

Posted: 3/6/04 at 8:18am

Vicious, you should have asked "Brooks Brothers boxers or briefs?"

How did you know the person next to you was knowledgeable about musicals?

Regardless of the answers it was not me. I'm scheduled to go this week, sitting in the Orchestra. Sharing any knowledge I might have loudly with strangers in a public place is definitely not me.


Yours for more throats slashed er, meat pies, on Broadway!

Broadway

[iflitifloat]

Posted: 3/6/04 at 11:12am

Anyone else going to the Sunday matinee tomorrow?

[onceadancer2]

Posted: 3/6/04 at 11:31am

It's too bad that Lawrence Tibbett and Rosa Pononselle are no longer living. They would have made a great pair in the musical.

Miriam

Posted: 3/6/04 at 1:05pm

I'm the most forward person I know, Bulldog. When I moved down into orchestra, he was sitting in the seat I had been vying for (silly Vish stepped out for a cigarette at intermission before swooping down to her seat), so I asked him where he moved down from. And after commenting on the turnout for that night we talked a bit about musicals.

Seemed like more of a Calvin Klein boxer/brief kind of guy to me, though.

Posted: 3/6/04 at 1:25pm

Last night I attended " A Evening With Angela Lansbury" at he DGA sponsored by the museum of broadcasting. Angela looked great. In her talk about Sweeney she said that it took 3 weeks to learn "Best Pies In London". Someone asked her to talk about working with Sondheim and Jerry Herman. She said you can't compare the two. She said Sondheim was too intelectual and private and difficult. But brilliant. And that Herman was warm, generous, and always enthusiastic. About getting Mame she said that the original director ( she wouldn't say who) didn't like her. The rest of the questions pertained to her television work . But they showed alot of clips of her Tony awards performances including Everythings Coming Up Roses ( from a 70's broadcast and another one from a early 90's broadcast), Bussom Buddies with Bea Arthur, a number she performed at a Oscar telecast in the 60's, It's Today , and many others. OOps; I just realized I should start another thread on this. ( So I will) Updated On: 3/6/04 at 01:25 PM

[Auggie27]

Posted: 3/8/04 at 9:24am

I saw the Sunday matinee, with Elaine and Mark Delavan. I'm a major fan of the original production, so it was a treat to revisit all the Hal Prince trappings, from the brilliant design elements by the Lees to the fluid, choreographed use of moving platforms and stairs. The staging is very sharp, for the most part, with a couple of lapses. In particular, the "City on Fire" section was muddy, the chorus somewhat tentative when they should've been more precise. At a couple of key reprises of the "ballad," the glue that holds this ambitious piece together, they were late -- again, tentative -- in the attack. Attack is key in this show, and at times one feels the orchestra and the chorus were waiting for each other.

As Vicious posted, the event is Paige. I have felt that no one has come close to the Lansbury Lovett, and now I think Elaine is almost in the same league. She's the perfect age, in stunning voice (her head range has never been used this way), and unlike many, she nails the low-class Cockney personna effortlessly. As much as I enjoyed LuPone, Elaine tops her in sheer authenticity. You never feel she's forcing the comedy, and she is something Angela wasn't: sexy at times. She is full of pathos when the plot turns, to her own surprise, suddenly quasi-maternal with Tobias, and her amoral, almost glib spin on all the bloodshed is delicious. She went up during "By the Sea," a song that taxes everyone who's played it (I saw Dorothy Loudon go up there), but covered masterfully. Perhaps it was notable only because of the presence of the supertitles, briefly at odds with her sung words. She also jumped the tempo during "Worst Pies" -- perhaps nerves? -- but recovered well.

To me, the Paige Lovett is even more impressive when judged in context. I wanted to love Delevan, a big, commanding hulk (Jean Val Jean came to mind), his sonorous tone so ominous and dark. But he finally disappointed, good though he was. He seems very American, alas, and there's a monotony to his take on the character -- a pitfall to the obsession-driven side of the role, to be sure -- that makes him less tragic, in some ways, less threatening. His heaviness at the top portends too much of what hasn't occurred -- he starts to play the end too soon. This means his "at last my arm is complete" moment doesn't feel revelatory. His Sweeney is too murder-minded -- to demonic -- too soon. He uses volume to suggest size of felt emotion very effectively, but his softer side -- and softer notes sung -- don't have comparable dramatic subtext. The role is not yet fully in his grasp. This was particularly obvious during the haunting "Johanna" montage early in act two. I felt he was so focussed on managing the chair that disposes of the body, he dropped the ball musically and dramatically. He may well improve as the staging becomes organic, but any hesitancy in a Sweeney is damaging to the show. He did grab me by the throat when he clutched the Beggar Woman (the great Judy Blazer) near the end.

My good pal at this board was in attendance, and she may have very different insights. I look forward to hearing from anyone else who has seen this. It's a great production, and will only become stronger during the next two weeks. Any fans -- don't miss La Paige.

Updated On: 3/8/04 at 09:24 AM

[BroadwayPhil]

Posted: 3/8/04 at 10:15am

Went Saturday night. Been a huge fan of this show since it came out but unbelievably never seen it. I loved it !!!! Elaine Page was great, much better than Lapone ( I have trouble getting through the concert DVD because of her). Big thing is that Page is British and being so used to the Lansbury recording, I really think she nailed it.
Timothy Nolen was more than acceptable, not the powerhouse voice of Hearn or Cairou, but acted the part wonderfully and had a great look. A great production that fans should not miss..

BTW Saw Avenue Q on Sunday, a ripper, very funny and also recomended. Thank to the board for the "what to see advice" ..

[iflitifloat]

Posted: 3/8/04 at 11:54am

Well, my reactions always sound so pedestrian compared to Auggie’s, but what the hell...here goes anyway. Elaine Paige, by any measure, was outstanding. The subtleties of her character played out clearly but never seemed forced even up in the the hinterlands where we were seated. I took Delevan’s Sweeney at face value, but now recognize that I never felt the force of his tortured and demented character. That is probably not the optimal or desired response to a title role. But since this is the only Sweeney Todd I’ve seen (ashamedly admitting that I’ve not even viewed the video), the minor flaws did not get in the way. I’d encourage anyone to make the trek to Lincoln Center, if only to catch Paige’s performance. But this production really does have a lot more going for it than just its leading lady. I enjoyed a wonderful afternoon of theater yesterday. And as an aside, my daughter, who is far more deeply entrenched, knowledgeable, and judgmental of all things Sondheim than I, loved it enough to be angling to pay a return visit.

Updated On: 3/8/04 at 11:54 AM

[twogaab2]

Posted: 3/11/04 at 9:44am

I want to add that (outside of Lansbury-who is difinitive in the role) Paige is the most natural Mrs. Lovitt I hav ever seen. No one has managed this with the role except Lansbury (even LuPone). Her choices were very subtle-so if you sit in the upper reigions of the house TAKE OPERAGLASSES. Her choices were different than Lansbury but equally valid. Fortunatly, she is an extremely musical singer so the short rehersal period didn't seem to daunt her much. A couple of places were shakey but not disasterous.

Timothy Nolen as improved in the role in leaps and bounds over the last 20 years. If he still lacks the sardonic humor of Cariou, he still, unlike Caious has a voice left.

Judith Blazer was a very positive force as the Begger Woman. It is hard to create much of an impression in this role and she did it.

So I guess the point is, if you get up to Lincoln Center, see it you probably won't be dissapointed.

At least that's how I see it I may be wrong.

TWOGAAB
"A Class Act" will never die!

Updated On: 3/11/04 at 09:44 AM

[redhotinnyc2]

Posted: 3/11/04 at 11:59am

I've been thinking about this a lot and am not sure where to begin. I saw Sweeney Todd last night, from excellent seats in the Orchestra section. I was happy to attend a show at The New York City Opera and it felt great as always to be in the company of a wonderful orchestra, an enthusiastic cast and, of course, my soulmate.
Let me preface what I am about to say with this piece of information: I've done a production of the show, and have been a fan since the late '80s when I was first introduced to the material. I am a huge Sondheim supporter and love all of his work. I adored Elaine Paige in Sunset Boulevard (she was the ONLY thing good about that show). But I'm flummoxed.
I think my problem with the performance I saw last night was the fact that it was presented by an Opera Company and mostly Classically trained opera singers. The physical production was beautiful - great costumes and sets (though for the life of me I don't understand why New enterpretations of the staging are frowned upon...though it may have something to do with a short rehearsal period and the fact that they already have the sets and costumes in stock). But to me - beautiful voices don't make up for a lack of acting talent. I saw very few Organic choices on the stage and most of those were made by Mrs. Lovett (Paige). The only other organic acting I saw was by the beggar woman (Judy Blazer) who gave a fine performance. If I'm not mistaken, Tim Nolan was in the San Francisco concert production (video with Patti Lupone) as Judge Turpin and was really great in that role. But as Sweeney - he tore huge chunks out of the scenery and spat them at the audience. His choices were so obvious and premeditated (must come from doing the role for 20 years!) - and he gave me the impression that he was a Sweeney on Cocaine - too manic - overly active and so much gesticulating - he Indicated EVERYTHING...giving the audience no chance to feel the moments or figure it out for themselves. This kind of Acting choice really bothers me and always has. ( I must interject here that his voice was great though - for a man his age he certainly has power and a good range on him)...
I still cried at the end - the story always gets to me, which is a tribute to the amazing writing. Hell - a community theatre production could still make me feel something with this material. But most of the roles were over-sung, which is what I don't like about it being presented by an Opera Company - give me Actors who can sing any day over Singers who can (maybe) act.
Pirelli had a great voice but was simply too young and green in the role - not enough acting experience but shows amazing promise - I give him credit for being cast in that role at his age and relative "newness" to the world of Opera. Johanna was dreadful - but its a hard role and requires an actress with great comic timing and a wonderful voice. Anthony had a great voice but not the voice I expect for the role - too dark and rich, and he looked so stiff and uncomfortable on stage, reminding me physically of a young Donny Osmond (at least from where I could see 13 rows back from the pit).
The Ensemble was enthusiastic, as I mentioned, but unable to be heard - which struck me funny, since it's an Opera Company and there were so many of them on stage - but so hard to hear. (perhaps a technical sound problem?)
Overall, I was dissappointed. I love Elaine but even SHE had to keep her eyes on the conductor for her entrance cues - I'm attributing that to the short rehearsal period. I wanted to feel so much more, but was left with a sort of blase' attitude about the entire show.
Of course, my opinion and $4.00 will get you a cup of coffee at Starbucks. Just putting my 2 cents out there.

Updated On: 3/11/04 at 11:59 AM

[twogaab2]

Posted: 3/11/04 at 12:12pm

A word on the chorus.

I wasn't really their fault. In the original production all voices were heavily miked therefore a lot of the music is written in an uncomfortably low range for the legitimate voice (i.e the music was written specifically with miking in mind). City Opera made the unwise choice to body mike ONLY the principles. Therefore when the chorus had to sing (particularly solo line) they wound up pushing and not being able to be heard. NYCO should take in to account how specific musicals were written if they continue to do them.

TWOGAAB
"A Class Act" will never die!

Updated On: 3/11/04 at 12:12 PM

[redhotinnyc2]

Posted: 3/11/04 at 12:22pm

I didn't say it was the fault of the chorus - you'll note that I mentioned that it could have been a technical sound problem (guess you hit the nail on the head - problem! - mic the whole show if you want it heard).

[redhotinnyc2]

Posted: 3/12/04 at 12:10pm

Gee - I expected lots of feedback and got almost none - interesting!

Posted: 3/20/04 at 2:37am

I attended tonight's performance and found Elaine Page's performance lacking. She threw away most of her comic lines and appeared to be going through the motions. I was disappointed. The rest of the cast was fine. Updated On: 3/20/04 at 02:37 AM

[kmbrly262]

Posted: 3/21/04 at 11:57am

did anyone find the subtitles/supertitles (whatever they are using) distracting?