Can anyone who went last night talk about the orchestrations? In a way, the Tunnick originals were so tightly connected to the sound of the show. The cool, techno-synthesizer effect was quite revolutionary at its time -- the title song came across unlike anything that came before (or after) -- and perfectly captured the era, the Manhattan feel, the sophistication. (One reviewer said it literally sounded like glass and steel).
But this production is staged as current, contemporary. How does it "sound?" Is that synthesizer element prominent, gone, missing? Just curious. I think the arrangements are more built-in to an appreciation of this score than SWEENEY.
"I'm a comedian, but in my spare time, things bother me." Garry Shandling