Jeremy Secomb and Siobhan McCarthy in The Tooting Arts Club production of Sweeney Todd, The Demon Barber of Fleet Street. Photo by Sara Krulwich.
A friend recently said to me “Oh, God! Not another SWEENEY TODD!” And I understand. I couldn’t sit thru another GYPSY. But aren’t we all waiting for that one SWEENEY that really terrifies us?
This SWEENEY may be teeny with only 8 Actors and 3 Musicians, but it is the first one that truly creeped me out. I found myself looking all around so I wouldn’t be startled at Mr. Todd’s final entrance. Not that this production is gruesome. There is actually less blood than most, but Jeremy Secomb and Siobhan McCarthy are such a lethal pair, I found myself wondering which one was responsible for “breaking down” the corpses.
This production was site specific in London, but we have to settle for “immersive” at the Barrow Street Theatre, which is gutted to create a pie shop. Pies are available pre-show and the dinner tables double as playing space. There are no mics, which is both irksome and exciting.
So this SWEENEY delivers on meat pies and mayhem, and when Norm Lewis and Carolee Carmello take over on April 11th, I may need to sit thru yet another performance of SWEENEY TODD. ; )
** 1/2 “Amélie” is a 2001 French film starring the enchanting Audrey Tautou in a hyper-fantastical tale of a sheltered young woman with a unique vision of the world. The film is nonstop eye candy with a tender heart. AMELIE, A New Musical, is based on the movie, and has the equally enchanting Phillipa Soo, scenery and costumes that are eye candy and a heart that begs to be loved. And that distinction weighs negatively on the delicate nature of this sweet story.
Craig Lucas has boosted the romance in the story and lost its originality. The opening is a little too coy and in trying to recreate the whirlwind feel of the movie, it becomes only marginally coherent. Once the show hits its stride it regains intelligibility and loses its uniqueness. Amélie’s young self/ confidante feels hackneyed and the ancillary characters are underused. The music and lyrics are pleasant and could use more varied arrangements.
Phillipa Soo‘s Amélie gives Audrey Tautou a run for her money. Charismatic, bewitching and sly, she sings from her guarded, creative heart and almost makes this 1:40 minute musical worth seeing.
The new a cappella musical “in transit” starts with an announcement that all the sounds in the show will be made by humans. As if we wouldn’t be able to tell without their guidance. As if there might be a person left in a Broadway audience that doesn’t know what “a cappella” means. And that pretty much sets the tone of inanity that carries thru this blandly peppy, little musical. The performance I saw had 4 understudies in, but there was still plenty of talent on stage for any good musical.
You would expect an a cappella musical to be sonically interesting, but they have managed to make the songs unmemorable and too similar so it just becomes one long forced-cheery, thumping slog. The characters are two-dimensional and except for one scene of reconciliation, there is little depth or imagination. I kept getting the feeling that I was back in the ’90s watching an Off-Broadway Revue, not acceptable for the price of a Broadway ticket. But then, the audience seemed to enjoy themselves, so maybe there is a clientele for a small, uninspired musical.