Review: Sweeney Todd 2012 West End revival

Home again: Sooty London streets humming to the tune of Sondheim

Sweeney Todd: The Demon Barber of Fleet Street
Thursday 21^st March 2012
Adelphi Theatre, London

Sweeney Todd has created a lot of buzz in London this season. The Sondheim favourite isn’t a stranger to West End audiences; it gets revised every four or so years. What has tongues wagging is the cast – lady of laughs Imelda Staunton as Mrs Lovitt and aging romantic heartthrob Michael Ball as a middle-aged Anthony…eh, Sweeney Todd?

Staunton seamlessly moves between film and theatre, and Mrs Lovitt is no stretch for her talent. Her comedic timing is impeccable and she skillfully pushes the audience from hysterics in “By the Sea” to authentic fear when Lovitt's evil and twisted side is revealed. Ball is a less logical fit for the title role. After decades known to audiences for his trademark romantic hero roles, he makes an admirable transition to twisted barber. Heavy-set with an oily comb-over, he's almost unrecognisable if not for his unmistakable vibrato. Ball crafts a sufficiently creepy and sympathetic Sweeney and has great chemistry with Staunton, keeping tension taught in their strained but civil relationship.

James McConville gave a formidable performance as the agile and waif-like Tobias, winning the audience with his sweet rendition of “Not While I’m Around”. Luke Brady as Anthony lacked the effortless tenor vocal chops. The chorus were light on sopranos; a fuller top range would have given the “Ballad” reprises more depth to balance the baritones and basses, but some sympathy is deserved considering the ridiculously high soprano vocal score.

Sondheim’s music and lyrics are a witty and sensory delight; from the haunting operatic “Ballad of Sweeney Todd,” to the shocking irony of Sweeney's contemplation of the “history of the world” through the frame of Lovitt’s pie shop (“those below serving those up above” and man literally devouring man), to the final grating plot twist that sees Todd so obsessed with revenge that he doesn’t notice his own wife.

The set is minimalist but clever. The invisible partitioning of the stage to represent each character's abode creates consistency and allows the audience to preempt disaster. However, the lever/trapdoor that rises from beneath the stage quickly loses its symbolism due to lazy scene transitions.

The 2012 West End revival of Sweeney Todd makes for a highly enjoyable night of theatre, not at the least because it is a rare opportunity to watch Sondheim's work on the main stage.

Tickets at http://www.ticketmaster.co.uk/Sweeney-Todd-tickets/artist/804360

Review: Matilda, the musical (West End)

 
Review 
Matilda, the musical 
Music and lyrics Tim Minchin, book by Dennis Kelly 
Wednesday 11th January 2012, 2:30pm 
Cambridge Theatre, London

Musicals don’t get much better than Matilda. The show has adults and children clapping, crying, gasping and jumping of fright in unison from start to finish.

Tim Minchin (music and lyrics) is a wordsmith, and his work resembles the sharp wit and tinkering tunes of Stephen Sondheim, together with a unique Minchin sense of fun and childlike humour.

Minchin cleverly navigates the original Roald Dahl novel while creating minimal resemblance to the film. The most jarring differences make for the most fun. Frightening schoolmistress Miss Trunchbull played by a camp, fierce but altogether male Bertie Carvel is a quirky change that breeds one hilarious moment after another.

Tricks and special effects are original and impressive, as is the complex but uncluttered set design. From swings that fly above the audience to towers of books that spell words, and chalk that hovers mid-air, no penny or strike of artistry has been spared. The overall effect generates a child-like wonder combined with a fantasy dream-world of bold colours and magical things.

The show is impeccably cast, particularly the girls who play Matilda. Matilda is a demanding role regardless of age, and Cleo Demetriou - a little dynamite of confidence and ability - blitzed through the show without flaw. I was in tears by curtain call to see such a talented little girl dwarfed by the adult cast standing centrestage taking her well-earned bows.

The messages and themes of Matilda are inter generational. As a child, I saw the story through the eyes of Matilda – a girl who is nurtured by a teacher who understands, protects, and challenges her. Revisiting the story ten years later, I didn’t anticipate how much I would identify with Miss Honey and connect with her loss and sense of completion through Matilda. The show reminds us that, like Miss Honey, we bring our childhood with us through life – both the good and the bad parts.

Matilda is a complete package, perhaps not filled with Phantom-esque show-stopping songs, but with a robust, cohesive creative vision. The music, book, set, costume, cast, direction and sound design compliment and enhance each other almost to perfection. I expect Matilda to sweep the upcoming awards season and successfully tour around the world. Plus, a very warm welcome from the musical theatre community to Tim Minchin. I only hope he stays and continues to write good musicals – there is definitely room for them.

Review: A Little Night Music, Opera Australia

I saw Opera Australia's production of A Little Night Music in Sydney tonight.

For now, here's a brief-ish review.

I'll begin by admitting the show isn't my favourite Sondheim piece. It is everything he's loved for though: a satirical yet sadly realistic depiction of the best but usually the worst of people.

But onto the actual production...

Since I was reasonably unfamiliar with the music a lot of the lyrics in the quicker, wordier songs were almost completely lost on me. The Quintet harmonised beautifully but their diction was lacking at times. Sigrid Thornton was underwhelming- she could hold a tune but it was obvious in Send in the Clowns that she capitalised on telling the story via acting and speak-singing rather than through the use of her singing voice- which was disappointing but not unsurprising.

Anthony Warlow was his usual charming self who makes minced meat of almost any melody (anyone who can make Sondheim sound like little work deserves some praise!). Lucy Maunder was a convincing Anne and Katrina Retallick as Charlotte Malcolm and her husband played by Ben Lewis provided the lighter moments with great comedic timing. Nancye Hayes' "Liasons" was engaging and gave audiences a much needed moment to reflect on the thematic content of the show up to that point.

The use of a revolving section of the stage was effective and appropriately symbolic- particularly during the waltz at the beginning of the first act. Fredrick and Carl-Magnus' car skit at the beginning of the second act was also particularly funny and well staged.

The standout of the night was Kate Maree Hoolihan's "The Miller's Son". Perfectly delivered: singing, acting, staging and all.

The Opera House's incredibly inflated prices were a turn off (particularly for a musical) but it's understandable that the big names of Warlow and Thornton would be enough to deliver decent houses. On Wednesday night the auditorium was almost completely full; a healthy sign that there are people out there willing to give Wicked a break (at least for one night).

Overall, a good production but nothing particularly hair-raising (other than Hoolihan's belting ballad as noted). The show is food for thought though, to be sure, and a must see for Sondheim fans. Who knows when it will next get a life in Australia.

Rating: 3/5

A Little Night Music

Opera Australia
Sydney Opera House
Until July 15th, 2010

Creatives:
Director Stuart Maunder
Conductor Andrew Greene
Set & Costume Designer Roger Kirk
Lighting Designer Trudy Dalgleish
Choreographer Elizabeth Hill
Sound Designer John O'Donnell

Cast:

Desiree Armfeldt	Sigrid Thornton
Fredrick Egerman	Anthony Warlow
Mme Armfeldt	Nancye Hayes
Charlotte Malcolm	Katrina Retallick
Carl-Magnus Malcolm	Ben Lewis
Anne Egerman	Lucy Maunder
Henrik Egerman	Matthew Robinson
Petra	Kate Maree Hoolihan
Fredrika	Erica Lovell
Frid	Anthony Lawrence
Mrs Nordstrom	Katherine Wiles
Mrs Segstrom	Jane Parkin
Mrs Anderssen	Jacqueline Dark
Mr Erlanson	Kanen Breen
Mr Lindquist	Byron Watson