Sweeney Todd *****

Photo: Tristram Kenton

         Let’s not beat about the bush: Sweeney Todd is the best thing in the West End right now. I had unknowingly formed a lot of preconceptions about this musical from Tim Burton’s film adaptation which I’ve now lost after seeing how it should be done. Not that I don't love Burton's film, but a lot of laughter is lost from the glorious stage version. Anthony Ward’s design is definitely Burton-esque, this is because director Jonathan Kent has updated Sweeney to the 30’s, against an industrial backdrop. Kent’s production is sophisticated, with a visual language accompanying the libretto, that’s almost Brechtian.

                It even toes upon Brecht’s Marxist themes; a whistle blows – rather, the whistle is blown – most times that Sweeney takes a victim, or alternatively, delivers produce to Mrs Lovett. Sweeney Todd seeks revenge upon Judge Turpin, who transported him to Australia years ago under false charges, and then raped his wife and adopted his daughter in his absence. But his barber's bloodlust soon turns upon the rest of humanity to the benefaction of Mrs Lovett's pie shop. Sweeney turns upon the audience, razor in hand and sings ‘we all deserve to die’ - and looking at the production values, and the manner in which we empathise with a serial killer, over a corrupt judge, I can’t help but wonder if Kent means it.

                The ensemble lingers at the top of the stage, peering through fractured windows into the tale of Sweeney Todd -but not learning from it. They scale to banshee like top notes that shake your insides. Their refrain has a scaremongering quality about it, which working with Sondheim’s humour; holds the audience on edge. Sondheim's wit cuts through the intense scenes like a blunt knife. Imelda Staunton steals the show, revitalising the role of Mrs Lovett. She has the audience in the palm of her hand. Michael Ball – better known for his charm than his menace – also astounds, his sonorous voice both occupying the vulnerability and insanity in the character of Sweeney. They are supported immensely by an immense cast, including Peter Polycarpou and John Bowe, the Beadle and Judge Turpin; as immoral pillars of the law. Polycarpou plays the harmonium with gusto to say the least, playing off Staunton in an impossibly tense and hilarious penultimate scene.

                In parallel, Lucy May Barker and Luke Brady drift upon the sweet tones of young lovers, naïve to the world around them. Without this couple, Sweeney wouldn’t be quite so bitterly moving. Indeed, I didn’t expect a show like Sweeney to move me on quite so many levels. Their duet has a touch of Bernstein’s ‘Tonight’, moving their star crossed love adamantly through the story; contrasting with the fluctuating morals and ceaselessly paced primary plotline.The laughter and tears rest upon the knife’s edge of dramatic irony, to the extent that the interplay between characters and chorus echoes the form of a Greek Tragedy.

                Kent’s production speaks to you more than the average musical might do. But of course, Sweeney Todd isn’t average; with this stellar cast and Sondheim’s score, Kent didn’t have to do much to make this show spectacular and yet he’s achieved this and so much more. If you see anything this year, attend the tale of Sweeney Todd.

RE: Me and my quick rant on fringe theatre

I have a few things I've been meaning to write about this week but I've been so busy with Brunel's production of Cabaret (which opened today to what seemed like a happy audience) that I've just not had the time!

But to begin, I was lucky enough to win tickets through http://www.ayoungertheatre.com to the premier of Philip Ridley's new play Shivered at the Southwark Playhouse on Monday. Now skip past all the obvious excitment *competition! win! me? my favourite writer!* and my brain being as slow as it is, I realised something contrary to my rant's point last week.

To reiterate, I made a point about the exciting work mostly reserved for fringe theatre having a chance to be seen by a wider audience by putting it in West End theatres. It's no secret that I champion in-yer-face theatre; but it had been so long since I'd seen such a show that I'd forgotten the obvious whilst writing my last rant. A show like that works best in an intimate venue, like the Southwark Playhouse; I couldn't imagine seeing a play like Shivered in a much bigger space without it losing its impact. It's impossible to interact with an audience that closely on a West End level. The thing about plays like this is the way the actors look at you and it feels as if they're looking at YOU, and from thereon have an insane abilitiy to play tug of war with your insides (Ridley...you God).

I barely remember being at the Southwark Playhouse once before, but huddled by strangers in small seats in an enclosed, dark space, listening to the tube roll by above you every few minutes, is strangely such a necessary element in pieces like these. And I'd forgotten that, tucked into my comfy red velvet seats at the Haymarket. And here I shall extend my earlier point; in an ideal world, it wouldn't only be possible to open an audience's eyes to the wealth of innovative theatre being created out there; but to theatre spaces without chandeliers and proscenium arches blocking your engagement with a show. Oh if only variety really was the affordably priced, tesco value spice rack of life.

New Content

Hello there! You may have noticed that there's a couple of non-theatre reviews on the blog now - shock horror! I've been reviewing a wider range of things, just to develop my confidence as general culture vulture reviewer; and to get a place as an editor on Le Nurb (Brunel University's paper). I hope this is all still to everyone's interest! Everything is interesting stuff to see out and about in London, I've either been very generous lately or the culture scene in London is booming; I've given out more four and five star reviews in a month than I usually do in a year!

And just because I'm very excited, I'm posting the Sweeney Todd trailer again because in a week I'll be sitting in the audience! Also to come: an interview with Peter Polycarpou who plays the Beadle in Sweeney Todd, and a review of Cleanskin, the film he stars in with Sean Bean.

Swing your razor high! Sweeney...

A Quick Rant: Fringe Theatre and The Price We Pay For Quality



Picture from: http://wetheatre.co.uk/pitchfork/quotes.htm

I have seen a lot of shows in these first two months of 2012 and without a doubt, the best things I've seen have been fringe productions. Being so enamoured with Theatreland, I'm lucky enough to know where and how to get cut price tickets for the West End shows, e.g. I got £2 tickets to ‘The Madness of King George’ through Masterclass at the Theatre Royal Haymarket, and £15 tickets for ‘The Importance of Being Earnest’ at the aforementioned theatre. The thing is, with all due respect, I didn't rate these shows very highly at all and yet they sit comfortably on their West End laurels able to cut ticket prices in full knowledge the theatre's label of 'West End' has a pulling power all of its own to fill the hundreds of seats. A West End production to me, now feels something of a safe one.

A prime example of what I'm talking about with Fringe theatre is 'Don't Stray From The Path' which I reviewed a few weeks ago. It wasn't perfect, but was innovative and exciting which more than makes up for that. After a series of West End disappointments, it feels like the time to finally really explore the edgy brilliance that seems only reserved to Off- West End venues – yes: the non-commercial stuff. Alas no! Indeed there’s a wealth of wonderful things to see on the fringes of Theatreland, calling out to my bones like some strange, internal, thespian magnet…yet unfortunately productions of this calibre are obviously costly to put on; and thereby, put me out. There is a wealth of discounts open to me in the West End, particularly the option of dayticketing, but not off-west end which saddens me immensely. As a student, I simply can’t afford to fork out up to £30 to see a fringe show, however much I’d like to.



Picture from: atgtickets.com



Now some off-west end venues like the Royal Court or the Arcola have schemes whereby the tickets are considerably reduced on certain days. I have been dying to see The Pitchfork Disney (just look at all the amazing reviews it’s had in the above poster) but couldn’t make it to the ‘Pay What You Can Tuesdays’. But for The Leisure Society at The Trafalgar Studios, tickets begin at £26.50. When did this inflation happen? Sure, this is just another post about the cuts made to Arts funding I suppose, but considering the quality of a large majority of the off-west end productions I’ve seen, my feelings are that in an ideal world, in order to keep daring, relevant theatre alive, I would prefer to see West End and Off-West End drama swap places. And so by placing productions like these in full view of a widening public eye, we might remember the possibilities of theatre, and fund it through bums on seats (more than just a hundred). When will it be okay to take small shows into big venues? Or better yet, make the small venues which have done so much for theatre, into the big thing.

P.S. If anyone knows of any discounts for ‘The Leisure Society’ – please, please, please let me know!

The Sunshine Boys: Danny DeVito and Richard Griffiths in the West End!

Looking forward to this! Thea Sharrock is to direct Danny DeVito and Richard Griffiths as the ageing vaudevillian team Willie Clark and Al Lewis in Neil Simon’s award-wining comedy, The Sunshine Boys. 

Kings of comedy, Willie Clark (Danny DeVito) and Al Lewis (Richard Griffiths) aka The Sunshine Boys haven’t spoken to each other in years.  When CBS call for the vaudevillian greats to be re-united for a nostalgic History of Comedy, past grudges resurface as they take centre stage once more.   Ageing ailments aside, can this legendary double-act overcome their differences for one last show?  Old rivalry and vintage hilarity abound in Neil Simon’s classic comedy of showbiz and friendship.

The Sunshine Boys takes over the Savoy Theatre from Legally Blonde from the 27th April for a strictly limited run. Regular readers will know that I've been on a mission to find a truly laugh out loud comedy, could this be it? I've got a lot of faith in Neil Simon and with a cast and crew like this - how could it possibly go wrong? Roll on April!

Tickets are available from http://www.sunshineboystheplay.com/ or by calling 0844 871 7687

P.S. Won't it be nice to have some celebrities in the West End who haven't won a talent show but have talent! *This is not a reference to The Wizard of Oz...