Sweeney Todd (Tour) 2007.11.06 review
I had the chance to go see the Sweeney Todd tour opening night performance in Toronto last night.
Due to David Hess (2005 Broadway revival cast Sweeney standby and 2007 Tour cast Sweeney) was placed on vocal rest, David Garry (who I think of as bald!Sweeney) has stepped into the role. His name (along with Judy Kaye's) are part of the titled advertisements even though Hess' remains on the windowcard...
I've come to believe that watching a Doyle directed Sondheim production almost demands that you sit very close to the stage - just because the nuanced acting would be lost if viewed from a distance. Seeing Company from the fifth row meant that you could gain both the overall perspective of the scenic design and choreography while being close enough to see the actors emote (or Raul sweat, as it were). :) Upon hearing that Sweeney tickets were being released for sale, I'd pounced upon second row centered orchestra seats. :)
I love Patti, but I also love Judy Kaye. I believe that Kaye is enjoying her performances as Mrs Lovett, and more importantly, there's a mad lightness, or a sense of fun imbued into her portrayal of Lovett that makes her character... lovable. LuPone's Lovett was different - much more... restrained (if I might use that word).
Doyle's theatrical concept of actors as musicians (or vis-versa) works for Sweeney Todd in many different ways than it did for Company. In this production of Sweeney, the instruments are not so much a part of the actor as they are a part of the set design. Having Johanna (Lauren Molina) physically hide behind her cello changes the perception that we (the audience) have formed. In Company, the instrument was an extension of the actor, while in Sweeney, the instrument is an extension of the set - whether it's the sound of the dripping 'blood' that is poured from bucket to bucket - an eerie reminder of the 'murder' that has just happened.
Other aspects that I'd noticed: Katrina Yaukey (Pirelli) chose to drop her 'faux Italian' accent into a 'generic' "American accent" aka "no accent" which makes that 'reveal' all the more jarring to the audience - no longer is Pirelli an 'exotic' character that's challenged Todd, but an 'equal' in the sense that David Garry (Todd) has also chose to not adopt a British accent for his character.
The costume design focuses on classic black/dark colours - the Beadle (Benjamin Eakeley) gets a very swank suit, and Judge Turpin (Keith Buterbaugh) wore a dark blue suit; while Mrs Lovett wore black with white (her apron). The second act Lovett costume was sequined and sparkly, and no longer were her fishnet stockings holey - indicating that she'd risen up in the world. :)
Due to David Hess (2005 Broadway revival cast Sweeney standby and 2007 Tour cast Sweeney) was placed on vocal rest, David Garry (who I think of as bald!Sweeney) has stepped into the role. His name (along with Judy Kaye's) are part of the titled advertisements even though Hess' remains on the windowcard...
I've come to believe that watching a Doyle directed Sondheim production almost demands that you sit very close to the stage - just because the nuanced acting would be lost if viewed from a distance. Seeing Company from the fifth row meant that you could gain both the overall perspective of the scenic design and choreography while being close enough to see the actors emote (or Raul sweat, as it were). :) Upon hearing that Sweeney tickets were being released for sale, I'd pounced upon second row centered orchestra seats. :)
I love Patti, but I also love Judy Kaye. I believe that Kaye is enjoying her performances as Mrs Lovett, and more importantly, there's a mad lightness, or a sense of fun imbued into her portrayal of Lovett that makes her character... lovable. LuPone's Lovett was different - much more... restrained (if I might use that word).
Doyle's theatrical concept of actors as musicians (or vis-versa) works for Sweeney Todd in many different ways than it did for Company. In this production of Sweeney, the instruments are not so much a part of the actor as they are a part of the set design. Having Johanna (Lauren Molina) physically hide behind her cello changes the perception that we (the audience) have formed. In Company, the instrument was an extension of the actor, while in Sweeney, the instrument is an extension of the set - whether it's the sound of the dripping 'blood' that is poured from bucket to bucket - an eerie reminder of the 'murder' that has just happened.
Other aspects that I'd noticed: Katrina Yaukey (Pirelli) chose to drop her 'faux Italian' accent into a 'generic' "American accent" aka "no accent" which makes that 'reveal' all the more jarring to the audience - no longer is Pirelli an 'exotic' character that's challenged Todd, but an 'equal' in the sense that David Garry (Todd) has also chose to not adopt a British accent for his character.
The costume design focuses on classic black/dark colours - the Beadle (Benjamin Eakeley) gets a very swank suit, and Judge Turpin (Keith Buterbaugh) wore a dark blue suit; while Mrs Lovett wore black with white (her apron). The second act Lovett costume was sequined and sparkly, and no longer were her fishnet stockings holey - indicating that she'd risen up in the world. :)