God That Was Good!
Sweeney Todd - Adelphi Theatre, London, 25th April 2012 matinee
&
Matilda - Cambridge Theatre, London, 25th April 2012 evening
Matilda - Cambridge Theatre, London, 25th April 2012 evening
This trip to London was definitely one for catching up on shows. Not that West End is that interesting at the moment, still too much on I do not like (Wicked, WWRY), shows seen often, so to have at least a few new ones was a nice change after the rather disappointing trip in November when there was so little new to discover. And then to have such shows to see as Sweeney Todd was dreams come true.
If you haven't noticed yet I must confess "yes, I am a Sondheim fanatic", I utterly adore this man's talent and work. Shows as "A Little Night Music", "Company" and "Into The Woods" are some of the most remarkable musicals for me with music to die for.
I had never seen "Sweeney Todd" onstage, of course familiar with the music, some *cough* bootlegs *cough*, the average movie, I was originally to day seat for the show but due to the extremely poor weather in London that day I just booked an ordinary while excellent top price ticket in row J the night before. I am glad I did as it is also unlikely I will have the chance to see it again as it is a limited run till end of September, as after having seen this show I think I would have regretted sitting so close to not be able to take it all in.
Saying this Jonathan Kent's production, which transferred from Chichester, is just too good to be missed from whatever seat.
Telling the story of Benjamin Barker, now known as Sweeney Todd, who returns to London after several years' transportation on trumped charges. When he finds out that his wife poisoned herself after being raped by the judge who transported him and his daughter Johanna living with him, he vows revenge on the judge and later, the whole world. He teams up with a piemaker, Mrs. Lovett, and opens a barbershop in which he slits the throats of customers and has them baked into pies. (Read more on Wikipedia)
Starring Michael Ball and Imelda Staunton as the lead characters the show has set-wise been moved forward to the 1930s (?) though it is not mentioned any further. You are just faced with the odd car and some then modern technology. The whole set (by Anthony Ward) is like a cold dark industrial factory with various levels, staircases, balconies supported by very strong, clear lighting that creates such cold chilly atmospheres most of the times working so well. Besides that the set is rather simple (not small) but a raised platform used as the barber shop a floor above stage level used to great gripping effect. With the set being so clear and cold and a clear sound design (and the music performed perfectly by the orchestra conducted well with so much energy) it totally matches the story.
Michael Ball as Sweeney Todd is certainly a revelation. I have read some negative comments about his performance which I cannot understand at all. Known to me more as a cheery loveable performer and presenter having seen him as Edna Turnblad in “Hairspray” the last time he has totally transformed and is somewhat unrecognisable that I had to look more than twice whether it was really him.
But it is not just the look he can impress with but also his actual performance that is so versatile. His singing sounds effortless but still most convincing and captivating At the beginning being the “just” the bitter skilled barber returning from Australia nursing his private grievance and tragedy he turns gradually into this demonic revengeful malicious serial killer with just to be at the end totally insane and psychopathic.Before there are always emotions coming through the surface, sometimes more, sometimes less.
There is such a passion with just the right dark edge (how can someone say there is none??). Especially his facial impressions are chilling, hair-raising and heart-stopping. He often reminded me of an ancient vampire thirsting for more blood but the more he gets the more he needs to kill to get even more that even at the end without understanding his motifs I can still feel sorry for him. Just mind-blowing.
Next to him Imelda Staunton who I mainly had “just” known from the Harry Potter movies and others (though I know she has been in that business for ages) is just as outstanding as the next to her gigantic looking Michael Ball. Giving a tremendously powerful performance as Mrs Lovett, the greedy and lovesick pie-maker, she steals often the show with a comic timing and edge that had me in stitches despite the rather macabre subject of the story and the songs. It was amazing to watch how she managed to walk the fine line to never just play for laughs. It all felt so natural, well maybe not the right word, but all so real and human, so well balanced and nuanced and still vulnerable. Her solo “By the Sea” about a possible future with Sweeney Todd by the sea is touching and mournful and sung well and when she notices that the boy Tobias has understood what is going on in the house she gives me chills with that fanatic icy stare and action. Perfect.
Besides these two (I could write a lot more though about them) the ensemble is also very strong. Especially Peter Polycarpou as Beadle Bamford (whom I already adored in other shows especially in Love Story), Luke Brady as Anthony and James McConville as Tobias make a most particular impression. Luke Brady, whose character so reminds of Marius in Les Miserables, plays with so much kindness and strength at the same time that you wish him all the happiness in the world. I was not too keen on Lucy May Barker as Johanna, Sweeney Todd’s daughter, but it might be the part as it is rather bland as is e.g. Cosette in Les Miserables (it is actually such a shame that the relationship is left rather unexplored and you are left without a clear answer about the couple’s future) but overall all performances are just as bold and striking as the concept of the show. It is actually though a shame that some of the names are rather unused but then the show is about the two leads.
Since it finishes its limited engagement at the Adelphi in September, don’t miss this opportunity to attend the tale of Sweeney Todd - a must see!
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| Perfect view from row J |
Telling the story of Benjamin Barker, now known as Sweeney Todd, who returns to London after several years' transportation on trumped charges. When he finds out that his wife poisoned herself after being raped by the judge who transported him and his daughter Johanna living with him, he vows revenge on the judge and later, the whole world. He teams up with a piemaker, Mrs. Lovett, and opens a barbershop in which he slits the throats of customers and has them baked into pies. (Read more on Wikipedia)
Starring Michael Ball and Imelda Staunton as the lead characters the show has set-wise been moved forward to the 1930s (?) though it is not mentioned any further. You are just faced with the odd car and some then modern technology. The whole set (by Anthony Ward) is like a cold dark industrial factory with various levels, staircases, balconies supported by very strong, clear lighting that creates such cold chilly atmospheres most of the times working so well. Besides that the set is rather simple (not small) but a raised platform used as the barber shop a floor above stage level used to great gripping effect. With the set being so clear and cold and a clear sound design (and the music performed perfectly by the orchestra conducted well with so much energy) it totally matches the story.
Michael Ball as Sweeney Todd is certainly a revelation. I have read some negative comments about his performance which I cannot understand at all. Known to me more as a cheery loveable performer and presenter having seen him as Edna Turnblad in “Hairspray” the last time he has totally transformed and is somewhat unrecognisable that I had to look more than twice whether it was really him.
But it is not just the look he can impress with but also his actual performance that is so versatile. His singing sounds effortless but still most convincing and captivating At the beginning being the “just” the bitter skilled barber returning from Australia nursing his private grievance and tragedy he turns gradually into this demonic revengeful malicious serial killer with just to be at the end totally insane and psychopathic.Before there are always emotions coming through the surface, sometimes more, sometimes less.
There is such a passion with just the right dark edge (how can someone say there is none??). Especially his facial impressions are chilling, hair-raising and heart-stopping. He often reminded me of an ancient vampire thirsting for more blood but the more he gets the more he needs to kill to get even more that even at the end without understanding his motifs I can still feel sorry for him. Just mind-blowing.
Next to him Imelda Staunton who I mainly had “just” known from the Harry Potter movies and others (though I know she has been in that business for ages) is just as outstanding as the next to her gigantic looking Michael Ball. Giving a tremendously powerful performance as Mrs Lovett, the greedy and lovesick pie-maker, she steals often the show with a comic timing and edge that had me in stitches despite the rather macabre subject of the story and the songs. It was amazing to watch how she managed to walk the fine line to never just play for laughs. It all felt so natural, well maybe not the right word, but all so real and human, so well balanced and nuanced and still vulnerable. Her solo “By the Sea” about a possible future with Sweeney Todd by the sea is touching and mournful and sung well and when she notices that the boy Tobias has understood what is going on in the house she gives me chills with that fanatic icy stare and action. Perfect.
Besides these two (I could write a lot more though about them) the ensemble is also very strong. Especially Peter Polycarpou as Beadle Bamford (whom I already adored in other shows especially in Love Story), Luke Brady as Anthony and James McConville as Tobias make a most particular impression. Luke Brady, whose character so reminds of Marius in Les Miserables, plays with so much kindness and strength at the same time that you wish him all the happiness in the world. I was not too keen on Lucy May Barker as Johanna, Sweeney Todd’s daughter, but it might be the part as it is rather bland as is e.g. Cosette in Les Miserables (it is actually such a shame that the relationship is left rather unexplored and you are left without a clear answer about the couple’s future) but overall all performances are just as bold and striking as the concept of the show. It is actually though a shame that some of the names are rather unused but then the show is about the two leads.
Since it finishes its limited engagement at the Adelphi in September, don’t miss this opportunity to attend the tale of Sweeney Todd - a must see!
So after this bloody afternoon I was then off to see "Matilda"...
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| Splashed out on an excellent seat again directly at the middle aisle in row E - perfect view |
...for the second time after I utterly loved it in November.
You know this feeling that sometimes you see something the first time and then when you see it again you are disappointed because it just does not feel the same? It is not the same excitement, maybe because you expected too much or...? I do not know. Well, Matilda was the second time just as marvellous as the first time. Full stop.
This show is just simply one of the best, wittiest, smartest musicals of the decade, maybe even the century. It just delivers all I ask for.
Without going into too much detail as I wrote so much about the show back in December - read my Matilda blog entries here - I was especially pleased that I got to see Bertie Carvel once more as he is to leave in July. He just lives and breathes the part and I really wonder who will replace him.
There is a new Mr Wormwood, Steve Furst, who was just as hilariously amazing as Paul Kaye.
I was not fully convinced by the new Miss Honey, Haley Flaherty, who lacked the utter sweetness and kindness of Lauren Ward and vocally she didn't sound as strong either. Still she just started and I will try to see her later in the run.
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| Children playing that night |
With Alastair Parker and Gary Watson off I got to see the stunning Tim Watson not only as teacher/doctor but also as Sergei which was such a treat. Alastair is great, no doubt, but seeing Tim in that part, was wonderful. I adore Tim, he has one most beautiful voice and can act as hell. Matthew Malthouse as on as Rudolpho, which was okay, he though misses the fire Gary has and I truly missed him as the escapologist.
Cloe Demetriou as Matilda was wonderful, I prefer Kerry, whom I saw in November, but Cloe's Matilda feels less grown up and still more of a naughty child that it was most enjoyable.
Overall: Matilda is just a show you cannot and must not miss - that if you can get a ticket. ;-) Word of advise: Check out the RSC website as they have an allocation as well and do not just rely on Seetickets. My both tickets were from the RSC site and perfect.
