Sweeney Todd (2005 Broadway Revival Cast)
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Free Music Notes for Sweeney Todd (2005 Broadway Revival Cast)
Free Music Review: Stunning new 'Sweeney'
Hit: 5 Stars
A minor complaint upfront: I wish they included the entire score.
Otherwise, this is an excellent recording of Sondheim's "Sweeney Todd": intimate, gritty, and very effective. The conceit of this production is well known by now-- the actors double as a minimalist orchestra and the action takes place in an insane asylum, suggesting a re-imagining of the horror through the eyes of the simpleminded, unwitting accomplice, Tobias. It's a brilliant, daring concept for a musical that's already, well, brilliant and daring.
On the recording, the stripped down orchestra works very well, drawing you into the characters and the story in a way that feels completely new-- even to someone who's listened to the original recording ad nauseum and hasn't seen this new production. The instrumentation keeps the horror close in a way you don't always get with a large size orchestra. (I would not, however, advocate that this version is definitive, just a fantastic new interpretation on its own terms.)
This new recording has a lot to offer. There are moments that are more spine tingling than ever: just listen to this version of "Epiphany," which is downright bloodcurdling in a way previous renditions didn't quite convey. The frequent reprises of "The Ballad of Sweeney Todd" have never sounded creepier. There is also a beautiful simplicity newly apparent in many of the numbers; the second act "Johanna," a highlight in every version of "Sweeney," has never sounded better. "Wait" and "By the Sea" also take on a renewed attractiveness. Everything becomes more impressive the more you think about the fact that the actors are completely responsible for all that you're hearing. Overall, this "Sweeney" just feels really, um, cool. Very cool.
The cast is amazing. Michael Cerveris is a powerful and mesmerizing Sweeney, and Patti Lupone is wonderful as a coolly evil Mrs. Lovett. Manoel Felciano sounds perfect as Tobias-- his rendition of "Not While I'm Around" is particularly memorable. I also like the approach of Mark Jacoby as the Judge-- he plays him as less a lecherous pervert, and more like just an ordinary man-- and he's all the more scary because of it. Some might question the casting of a woman, Donna Lynne Champlin, as Pirelli, but within the already surreal parameters established, it's a perfectly suitable alternative.
The one question I have is whether or not this version would appeal to people who are not already "Sweeney" devotees. Ultimately, I think it can be easily appreciated even by those new to the show. That doesn't mean you should skip the original, though. Both are necessary. And if you really feel like being a fanatic, get the New York Philharmonic recording too.
Free Music Review: Sweeney Deserves Its Praise
Hit: 5 Stars
I was a little late getting down to see the new revival of Sweeney Todd, so I had heard quite about it before I got to see it. Often, when I hear lots of advance praise, and I finally get around to seeing the show, I think "What's the big deal?"
Not this time. This Sweeney is brilliant. Here's a great example of a concept show in which changing the original concept actually helps further illuminate the meaning of the show. The original concept of Sweeney was about the dehumanizing effects of the Industrial Revolution. The "man devouring man" was meant to be a comment on the soulless effects of modern society, and that America in 1979 was really no different from London in the 19th Century.
Well, this Sweeney sets the show in an insane asylum. The show essentially takes place in Tobias's memory, as if he's telling the story to his psychiatrist/warden. All the members of the asylum - staff and inmates - assist in telling the tale. And in the process, they all wind up playing the musical instruments for the score. As you may be aware, director John Doyle has used that same sans-orchestra gimmick in new productions of Company and Mack and Mabel, which makes me think he may be a one-trick pony. But it certainly works for this production of Sweeney.
The intimacy of the show and the pared-down version of the script allow the totality of the characters to really come through. The performances are uniformly brilliant, but one standout is Manoel Felciano as Toby. At first, his performance seemed to be a little too reminiscent of Smike in Nicholas Nickelby, but as the show progressed, it grew in texture and resonance. His highly sympathetic Toby made the show's denouement all the more shattering.
Of course, Michael Cerveris and Patti Lupone are excellent, too, as are the quirky Lauren Molina and Benjamin Magnuson as Joanna and Anthony. And Alexander Gemignani makes for a humorously deadpan Beadle.
Whenever someone talks about some flop show like Carrie or Dracula, saying something like "God, what a terrible idea for a musical," I inevitably point to Sweeney Todd. There's no such thing as a bad idea for a musical, only poor execution. Sweeney proves conclusively that the right creators can find the drama, passion, humor, and heart in any subject matter. If only Stephen Sondheim and Hal Prince had taken on Lestat...
Free Music Review: God, That's Good!
Hit: 5 Stars
If someone had told you about a barber that cut people's throats off, what would you have thought? I bet you would have never thought the story would make a good musical! There's only one person who could accomplish such a task...Stephen Sondheim, and God, He's GREAT!
"Sweeney Todd" is everything. It's bloody. It's gory. It's got great characters. It's got thrilling music. It's disgusting. It's perfect in every way! The day I went to see "Sweeney" in New York, we had a great audience. They perfectly understood "Sweeney" in spite of the fact that it's not your normal, typical musical, and some people might not like it because of this fact. Though I overheard one man comment that "Sweeney" was too dark for him, I think that's exactly what makes "Sweeney Todd" so good. If you're interested in your "normal" musical you shouldn't buy this, but I'm sure everyone knows that Stephen Sondheim doesn't write musicals for money-he writes them to be good.
At lot of people commented that the orginal album and "Sweeney" were better than this revival, but even though I have not seen the original, I can tell you how good the revival is. It was originally thought out and even though it wasn't a big production, it captured the horror perfectly, proving that "Sweeney" doesn't need a big production to be good. Michael Cerveris plays the role of Sweeney Todd to perfection and even though Patti LuPone plays the role very differently than Angela Lansbury, I disagree that Angela Lansbury was better. I think they are too different to compare. Angela Lansbury might have been funny, but Patti LuPone plays Mrs. Lovett in a way that is grippingly real. Maybe it was easier to tell seeing her live, but I thought Patti LuPone is WONDERFUL! I shouldn't judge, but I think she might even be better than Angela Lansbury was, though as I said earlier, they're incomparible. The actors in this "Sweeney" are great, and cool also is the fact that they were also their own orchestra. Could you imagine playing the an instrument while acting? I really recommend this. I can't stress how much I recommend this c.d. It might not have all the diologue, but in my opinion, it captures the magic of the performance PERFECTLY! I can't wait to see "Sweeney" again-and you're commanded to either see this or get this wonderful recording!
Free Music Review: A fantastic revival.
Hit: 5 Stars
Different from its predecessor, but just as good. Those familiar with the original cast recording of "Sweeney Todd" may miss the lush, dramatic orchestrations and the fullness of ensemble songs (the Sweeney "Ballads", "Pirelli's Miracle Elixir", "God That's Good!" etc.), but this is a different Sweeney--a Sweeney that relies on its intimate cast of ten to sell its dramatic points. And you'll actually be surprised at how much the ensemble songs I mentioned above aren't really missing much. The cast is so fantastically polished that you never feel as though you're missing anything in ensemble numbers.
The recording is, however, missing a lot, exclusively in Act II. The rest of "City on Fire" is missing, as well as "Parlor Songs" and a few others. I'm not sure why they chose to leave these songs out, but they do make the second disc seem very unbalanced.
The exclusion of these songs is not enough to warrant a score less than 5 stars. The Sweeney revival is absolutely amazing and this recording is just as wonderful. There is not a weak link in the cast and they're doing double-duty here--singing AND playing their instruments. It's easy to forget because it's done so well, but every so often you remember--oh, that's Lauren Molina on the cello or Diana DiMarzio on the clarinet or Manoel Felciano on the violin. As a result, the music becomes both fuller and more intimate--it's music that is the result of ten very talented individuals.
Benjamin Magnuson and Lauren Molina are perfect as Anthony and Johanna, playing them with the perfect amount of serious innocence and comic innocence. Patti LuPone is absolutely fantastic as Mrs. Lovett; her "By the Sea" is one of my favorite tracks. The rest of the cast is also great, but no one more than Michael Cerveris. Michael, Michael, Michael--our new Sweeney. Cerveris on this album is the best handprint of his live performance; he is alternately terrifying and heartbreaking, exactly as Sweeney Todd should be. His soft baritone does so much to convey the anguish and passionate anger that so perfectly embody the title character. In a production as intimate as this one, what perfect casting. What perfect casting overall. What a perfect album of a truly remarkable production.
Free Music Review: A Very Respectable "Sweeney"
Hit: 5 Stars
To begin with, this is easily the best Broadway score of the last half-century. There have been many complaints about this extremely well-reviewed revival of the Sondheim classic, some of it deserved and some of it not. In fact, this Original Cast Recording is probably the best result of the revival, with some reservations. Unfortunately, the decision was made to eliminate most of the second act songs to fit on one CD. Nonesuch Records inexplicably found themselves with too much music for one CD, so they released a 2-CD set that has more than enough room for the missing numbers. Sadly, some of Sarah Travis' best orchestrations (for which she deservedly won a Tony Award) are missed, and since the show and performers gained momentum as the production progressed there are moments to cherish that were not recorded.
All of that said, this is still an exquisite recording, with many classic performances. To start with, the sound is pristine and crisp, a happy and welcomed quality to any cast recording. Michael Cerveris is a bit severe and over-the-top at times as Sweeney, and Patti Lupone's typical bouyancy seems muted. Still, both actor-singers bring subtlety and virtuousity to their roles. A mention must be made about Ms. Lupone - while she has her detractors (with good reason), her performance on this CD may very well be her best. She mixes subtle underplaying with her usual theatrics and manages to pull off a contrast that gives her character layers of complexities. Also, her singing is less mannered and calculated than usual. Other pros who do their best are the thrilling Diana DiMarzio as the best "Beggar Woman" in record, the subtle yet intense Manoel Feliciano as a touching "Tobias" and the exquisite Lauren Molina as a most fetching "Johanna".
Initially, this would have earned a 4-star review only for the missing songs, but what's there is so glorious (and so high above almost anything on Broadway now or since 1979) it gets the 5 stars. Whatever reservations melt when listening to such an accomplished recording. Everyone involved should be proud of their work, as nothing like this will likely pass Broadway again in the near future.