Sweeney Todd Off Broadway Performances — Page 7

Thank you Newintown. Somebody should send your note to Mr. Brantley. There is nothing pastiche about any of the score inSweeney except for the parlour songs.

They just announced the lottery and extension to December.



https://www.broadwayworld.com/article/Immersive-SWEENEY-TODD-to-Slay-Off-Broadway-Through-December-Digital-Lottery-Announced-20170302

"You should be able to email Brantley. I did once regarding the A Little Night Music revival, lol. He responded promptly."

I don't see much payoff in that; Brantley is a moderately knowledgeable person who thinks he's an intellectual and an expert. He would never admit to using any word incorrectly, especially one of his favorites for denigrating a writer's work, "pastiche" (which was not originally derogatory, but almost always is now).

There's a vast difference between homage and pastiche and merely being inspired by an existing work, oeuvre, or genre. Only a dilettante would call, for instance, Stravinsky's Pulcinella a pastiche of Pergolesi, or his Dumbarton Oaks a pastiche of Bach.

Even the show tunes in Follies, often called pastiche, aren't really. Sondheim's work always incorporates his own originality and integrity, even when inspired by something identifiable. Brantley uses "pastiche"in an attempt to demean that integrity.

newintown said:

There's a vast difference between homage and pastiche and merely being inspired by an existing work, oeuvre, or genre. Only a dilettante would call, for instance, Stravinsky's Pulcinella a pastiche of Pergolesi, or his Dumbarton Oaks a pastiche of Bach.

Even the show tunes in Follies, often called pastiche, aren't really. Sondheim's work always incorporates his own originality and integrity, even when inspired by something identifiable. Brantley uses "pastiche"in an attempt to demean that integrity.

Interesting. I thought Sondheim himself used the word in regards to Follies, but I may be imagining. He said he basically copied "The Man that got away " when he wrote "Losing my Mind."

I agree that "pastiche " doesn't apply to Sweeney. What to you DOES count as a true "pastiche " song? Because any composer will bring something of themselves when writing a song in an old style, surely?

Caught this last night and thought it was absolutely fantastic. Yeah, maybe it's less of a thinking-man's Sweeney Todd than your average high profile production and runs away with the show's thriller/Grand Guignol roots, but all to its benefit. Jeremy Seacomb and Siobhan McCarthy are both perfectly cast for this particular production; he bringing an at times unbearably intense mania to Sweeney, she a surprisingly grounded and natural-feeling manipulativeness to Lovett. The supporting cast is equally fitting, serving not only their principal roles well, but acting as a perfectly calibrated ensemble as well. Real kudos to Bill Buckhurst for directing such a consistently paced production with atmospherics to spare. Most of all, I was impressed by how genuinely spooked I was by it. For the first time, I felt how fun this show can be, with its blend of comedy and horror (sometimes both simultaneously), laughing as Sweeney literally sticks his razor in your face before jumping across to a nearby table to scare the bejeezus out of an unsuspecting old lady.

But, of course, the true star here as always is that score and book by Sondheim and Wheeler. Stripped down to just three instruments (piano, violin, and assorted winds), you really can't get away from the intricacy, mood, and beauty of every moment of music. And the book, with its constantly shifting locale and tone, shows how a well-told tale needs no elaborate settings to be effective. All you need is a willing audience, some candlelight, and a few game storytellers. It's theatre in its purest, simplest form and works like gangbusters.

Also, that meat pie beforehand was damn delicious.

Thanks for the clarification!

Thanks for the photo! Guess we will need to rest our feet that day to prepare for standing!

BB113

^ I was wondering that as well.

followspot said: "Regarding the $69 "Partial View" row of seats in the Barrow Street Theater mezzanine, be forewarned that they should more accurately be called "No View" seats, or even more accurately "Standing Room," as all 16 of us in this row needed to stand for the entire show in order to actually SEE the show. Oddly enough, this is then an excellent view (of an excellent production), save for missing action at the top of the staircase. (In short: "Partial View" if standing, "No View" if sitting.) Pic is from eye level in a normal seated position.

"

The $85 twist view seats (they were called "partial view when I bought them) are a much better deal. You do need to twist to see much of what's happening, but they are right in the middle of the action.

Tonight's performance has been cancelled.

I actually didn't have major issues with the partial view mezzanine seats. Just a few little things. Then again, I was in BB 104, which is closer to the center aisle. Was able to see the counter space area of the set well.

Plus subways are working. What kind of replacement tix are they offering?

i have tix for partial view $85 tix for later this week and then 2nd row mezz in 2 months. Not too excited about the 2nd row mezz now having seen that pic. I might ask for a refund given when I bought the tickets it was mentioned that it was partial-view.