Sweet Smell of Success thoughts?

I adore the score. I never got to see the show, but I've read the script and I agree with the general consensus that the shows major flaw was the fact that there was no one on stage to root for. There wasn't a single likable character. It's a musical about a bunch of people trying to get ahead or stay on top, doing whatever it takes to do so, and getting rid of anyone that gets in their way. For some reason, it seems to work on film, but it obviously didn't work in the theatre and I can't tell you why, other than the obvious fact that a musical generally requires the audience to care about someone. But, I still think it was an interesting idea to construct a musical that didn't do that. It was sort of an anti-musical in that respect.

Updated On: 7/19/10 at 11:20 PM

It was a catch 22- writing a noir musical demands that you have the noir sensibility, but a musical typically asks empathy or sympathy from its audience.

With noir, there is no black and white morality or even grey on grey- only black and black. Everyone is corrupt from top to bottom, and there's no one to invest hope in. Sweet Smell of Success depended on the proposition that mainstream Broadway could handle noir. It couldn't- whether it was just a bad time, or if the style doesn't work onstage would be hard to determine.

Such a great score. I wouldn't have minded maybe softening Sidney up a bit, I mean I don't see how it would be possible, but somehow not making him so unlikeable.

You might find the following thread interesting....
http://www.broadwayworld.com/board/readmessage.php?page=1&thread=1010074&boardname=bway&boardid=1

I saw this show. I must admit at the time I was kind of disappointed. ButI kept thinking back on it and purchased the CD when it became available. It is one of the few CD's I own that I liked better each time I played it. It is a great score. Yes, the characters are not a likeable bunch. But are they a likeable bunch in Chicago? SSOS has passion and power. It holds the interest even after the curtain falls. I look forward to a second chance to see this show. I bet it would have been an even better show and recording if John Lithgow were a better singer. He's not at all bad, and won a Tony, but.. Maybe someday Brian d'Arcy James will do a revival and play Lithgow's role??!

As was discussed in the post linked above, the show was massively retooled for Broadway after an unsatisfying Chicago tryout, and Lithgow's character became much more sinister. The book was tightened, the score was (mostly) improved, and at the expense of the female lead's best number, the show became a much stronger, nastier animal.

Another Chicago attendee. I couldn't believe Lithgow won anything for that performance. Score was OK but the plot seemed too unfocused- stuff happened but it didn't really build or climax. The "for Susan" number was amazing- one of the great moments I've seen on stage- and so quiet and subtle!!