Friday, July 14, 2017

A Stirring Production of Sondheim’s Sweeney Todd at Dramaworks

When one of the finest regional theatres presents the preeminent work of the greatest living Broadway lyricist and composer (arguably the best ever), we can expect to experience a performance work of art that will be long remembered.  Such is Dramaworks’ production of Stephen Sondheim’s Sweeney Todd. It packs such an emotional wallop that the stunned audience left exiting, “wow,” after a standing ovation.

Even though Sweeney Todd flopped on Broadway and the West End when it first opened in 1979 -- critics and the public were not prepared for the bizarre subject matter and Sondheim’s treatment of it in a musical -- the show has become one of his most frequently performed on all levels ranging from expurgated school productions to full-scale professional theatres.  As Sondheim himself commented, if you give an audience a good story, especially an extravagant one, they’ll accept it with pleasure, no matter how bizarre, and idiosyncratic it might be.

Although the plot is fairly well known, a brief summary might be helpful.  The story itself, which can be traced in various English publications going back to the mid 19th century, is based on “The Demon Barber of Fleet Street.”  Sondheim saw a retelling of the tale in a 1973 play by Christopher Bond in London and it immediately struck him as material for a musical horror story.

In Sondheim’s version, Sweeney Todd, AKA as the barber Benjamin Barker, has been ruined by Judge Turpin who coveted his wife, Lucy and stole her away by banishing Barker to Botany Bay for life.  But Barker, now under the cloak of a new name, Sweeney Todd, eventually returns to London with the help of Anthony Hope, a young, good natured sailor he befriends.  Todd has one overwhelming yearning aside from escape: retribution.

He sets up a barbershop over Mrs. Lovett’s pie shop -- known for making the worst pies in London.  She is aware of Todd’s past and tells him that his wife, Lucy, had taken poison and their daughter, Johanna, was adopted by the Judge, becoming his ward.  His quest for retribution is intensified.  Little does he know that Mrs. Lovett has her own designs on him, hoping they will ultimately become lovers and has twisted the truth to her own advantage.

Todd challenges Adolfo Pirelli who claims to be "the king of the barbers, the barber of kings" to a contest to inveigle the Judge into his shop. Ultimately, Pirelli becomes the first of Todd’s victims and ingredient in one of Mrs. Lovett’s new, much celebrated ”meat pies.”

Judge Turpin’s attention to Johanna turns from regarding her as his ward to wanting her for his wife.  Anthony, the young sailor, has developed an intense love interest in Johanna as well.  Meanwhile, Mrs. Lovett and Todd are grinding people from all walks of life as their pie enterprise flourishes.

These story lines converge with the death of many of the major characters, sparing the young lovers, Anthony and Johanna, and Tobias Ragg, Pirelli’s assistant who is devoted to Mrs. Lovett.

That’s as brief as I can make it, but this musical is, oh, so much more.  It is genius every step of the way demonstrating Sondheim’s cardinal rules: Content Dictates Form; Less Is More; God is in the Details – all in the service of – Clarity.  

Shane R. Tanner and Company in Sweeney Todd Photo by Cliff Burgess

The very opening line of the show’s first number “The Ballard of Sweeney Todd” is “Attend the tale of Sweeney Todd.”  Simple enough?  Here’s Sondheim’s take:  If ever there was an example of "God is in the details," it's the line that opens this show: "Attend the tale of Sweeney Todd." Detail 1: the use of "attend" to mean "listen to" is just archaic enough to tell the audience that this will be a period piece. Detail 2: the idea of a "tale" suggests that the audience not take the story realistically but as a fable, and opens them up to accept the bizarrerie of the events which follow; it also promises a story that will unfold like a folk ballad, foreshadowing the numerous choruses of the song that will pop up during the course of the evening. Detail 3: the alliteration on the first, second and fourth accented beats of "Attend the tale of Sweeney Todd" is not only a microcosm of the AABA form of the song itself, but in its very formality gives the line a sinister feeling, especially with the sepulchral accompaniment that rumbles underneath it.

Sondheim is the consummate artist, approaching every lyric, every note in this gorgeous “black operetta” with the same level of thought and detail.  Interestingly, Sondheim’s antipathy for opera led him to construct it mainly as song forms, something between a musical and a ballad opera.  His love of background music in film, and he has scored several, became infused in the music.  Lyrics were a challenge and he decided to invent some colloquialisms to go along with British ones he knew. 

There are a number of chorus numbers, their role ranging from serving as a Greek Chorus and as provocateurs moving the action along.  Sondheim rejects the notion that all people in a chorus will be singing the same thought in harmony.  Thus, chorus and duet numbers in the work can have different overlapping lyrics but all in perfect sync with the music (although, alas, and this does not distract from the overall achievement, not every single word can be heard or assimilated).  

Dramaworks’ interpretation relies on the deft hand of the Director, Clive Cholerton, and the equally important musical director Manny Schvartzman, making his PBD debut.  Cholerton directed the enormously successful 1776, last year’s musical offering from Dramaworks but by his own admission, Sweeney Todd is his favorite show.  Thus, he found it a bit daunting to finally have the opportunity to direct it.  Some previous versions had Sweeney as a crazed mass murderer at the onset, but his vision was to have Sweeney arrive bitter and angry from prison, but not a murderer out of the gate. 

His take came more clearly into view working with the costume designer, Brian O’Keefe, whose idea was to make a strong costume statement -- a “steam punk” look, almost science fiction, a post apocalyptic world (although still strongly grounded in 19th century England).  O’Keefe is also reaching to younger audiences with this gothic but futuristic feel to it -- or perhaps even a contemporary spin given the current political zeitgeist.  The costumes are simply astonishing, from Mrs. Lovett’s seductive lacy top with the tightly strung corset to Johanna’s virginal gowns and nightdresses to Beadle Bamford’s sinister black boots, menacing cudgel and flowing overcoats.

Schvartzman successfully works with the inherent complexity of Sondheim’s music, blending the cast seamlessly with the score and wringing out every drop of color and emotion Sondheim has poured into the work.  He is also the talented pianist and conductor of the show, along with an orchestra of five, including himself.  He clearly achieves his objective of providing the same support as a larger orchestra, hitting every note Sondheim intended.

Shane Tanner returns to the Dramaworks’ musical stage, having last appeared in 1776, this time in the title role of Sweeney.  Tanner is well known for a wide range of musicals, including Sondheim’s Into the Woods, A Little Night Music, and Assassins.   He makes a critical transition when he crosses the line from merely plotting one person’s murder to becoming a mass murderer with ghoulish composure.  Beware of the razor in his hand.  It is the ultimate equalizer of classes.  Tanner’s performance starts with despair and lack of hope, gradually escalating to rage and the audience feels that steady spiral to its core.  He is a Sweeney to be remembered.

Ruthie Stephens in Sweeney Todd Photo by Cliff Burgess

Ruthie Stephens as Mrs. Lovett twists everything in her lust for Todd.  We root in many ways for Lovett and Sweeney as they grind up aristocrats along with everyone else, “Those crunching noises pervading the air?.....It’s man devouring man, my dear.”  Stephens focus is on Mrs. Lovett’s role as an opportunist and as Stephens is from the UK, she expertly capitalizes on the very Brit humor of the part.  Her clarion voice and performance were stunning and when she is on the stage, your eyes never leave her.

The lovely Johanna is central to all the major characters in the work, the Judge lustily desiring her, Lovett wanting her out of the way, Todd trying to protect her, Anthony loving her.  This key soprano role is played by Jennifer Molly Bell.  She is as radiant as her namesake song in the show, “Johanna.”   Bell effectively communicates what it feels like to be a bird trapped in a cage, longing for escape.

Michael McKenzie and Shane R. Tanner in Sweeney Todd Photo by Cliff Burgess

Michael McKenzie, as Judge Turpin, makes a strong case for the Judge being “misunderstood” yet unable to tame his emotions – although by banishing Todd to seduce his wife and claim his child makes him decidedly villainous.  His scene of self-flagellation singing a new verse of Johanna as he voyeuristically peers at his ward is unforgettable.  By the time he finally succumbs under Todd’s razor (the first such attempt going amiss), the audience is as ripe for revenge as Todd.

The good-natured, madly-in-love with Johanna, Anthony Hope, is performed by Paul Louis Lessard (PBD debut) whose tenor voice soars in his numbers.  When Lessard first sings “Johanna” he demonstrates that Sondheim can write a genuinely beautiful love song.  The song is sung in several iterations in the show.  It was one of Sondheim’s favorite’s --   writing songs like these not only appeals to my instinct for intricate plotting, it makes me feel like a playwright, even if the plays are only six or seven minutes long.  Lessard captures Anthony’s sensitivity and determination to have his lovebird.

My own favorite songs from the show, aside from “Joanna,” are “Pretty Women” sung by Todd and the Judge when the Judge is first in the barber’s chair, and the ghoulishly hilarious “A Little Priest,” sung by Mrs. Lovett and Todd which brings the curtain down on the first act.  I might also add “Not While I’m Around,” a beautiful ballad sung by Evan Jones who plays Tobias Ragg (PBD debut) and then is joined by Mrs. Lovett.  It’s an unusual number as it mixes both warmth (Tobias’ take) and evil (Mrs. Lovett’s plotting as she sings).

PBD veteran of many shows, Jim Ballard plays Beadle Bamford, Judge Turpin’s thug and partner in crime.  Ballard’s portrayal is the personification of evil and brutality and that characterization combined with his strong voice left an indelible impression.

Rounding out the cast are Alex Mansoori as Pirelli (PBD debut), Shelley Keelor as the Beggar Woman / Lucy, and the rest of the ensemble, Terry Hardcastle, Christopher Holloway (PBD debut), Hannah Richter (PBD debut), and Victoria Lauzun (PBD debut).  All have fine, powerful, operetta quality voices which enhance this production.

Michael Amico’s scenic design captures the drab factory-like industrial conceit with the worn paneling and the large overhead windows, for letting in light or the color red, symbolizing blood at the appropriate times.  It functions perfectly for the action and atmosphere.

Lighting design is by Donald Edmund Thomas. There are some 380 lighting changes (with as many as 8-10 in a minute), dividing the stage into 22 lighting sections so lights can follow the action.  The lighting has an appropriately grungy feel to it with shadows streaming across the stage.

Sound design is by Brad Pawlak who puts the focus on the music itself as well as a well -timed screeching whistle at emotional peaks.

This PBD production of Sondheim’s masterpiece haunts, staged by a team of professionals worthy of Broadway.  It is a powerful, stunning performance, not to be missed.

Sondheim’s comments are from Stephen Sondheim: Finishing the Hat; Collected Lyrics (1954-1981) with Attendant Comments, Principles, Heresies, Grudges, Whines and Anecdotes (Alfred A. Knopf, New York, 2010)

Friday, July 7, 2017

Baseball and Boating

As American as apple pie.  But for us the beginning of the summer concludes our Florida “season.”   We’ll get to a few more Class A+ minor league games but as part of the summer is scheduled for traveling, our boat is best stored on land during the hurricane season.  Thus, early yesterday morning I made my annual solitary trip leaving the North Palm Beach Waterway and the PGA bridge behind, 

and emerging into Lake Worth to run down to Riviera Beach where I was met at a boat ramp by Mariner Marine, the dealer for the Grady White.  After getting the boat up on the trailer and climbing down, it is but a short ride to the dealer and there I arranged for the annual servicing as well, saying farewell to our center console, ‘Reprise,’ but knowing when I pick her up in the fall, that it will have been serviced and detailed, looking beautiful for more time on the water.  And at my age I now must add, health willing of course.

The night before we saw another minor league game, this time the Bradenton Marauders (Pittsburgh Pirates affiliate) facing off against our Palm Beach Cardinals at Roger Dean Stadium.  We decided to sit behind home plate so I could get a better view of the pitching: two fine pitchers were at work.   

First there was a fellow lefty, Cam Vieaux, who was drafted in the 6th round only last year and is carrying a 1.42 ERA since joining Bradenton.  Vieaux is clearly a control pitcher with a fast ball only in the low 90s which he mixes with a change-up and a curve to keep batters honest.  But if batters guess fast ball correctly, he is hittable, and as a result gave up 11 hits in 7 innings.  Andy Young found that key in the 6th inning with a home run, tying the score 2-2.  Still, Vieaux gave up only 2 earned runs while recording only 2 strike outs.  He is a crafty lefty and as he perfects his style, he has future potential.

On the other hand, the Palm Beach Cardinals right hander. Ryan Helsley, is a classic power pitcher, his fast ball in the high 90s. The Cards lifted a large number of foul balls as batters got under the ball or not able to get around on those fast balls.  He was drafted in the 5th round by the St. Louis Cardinals out of Northeastern State and has averaged more than one strikeout per inning in the minors with a career 2.20 ERA.  As with many young pitchers, location is the issue and he needs to get to the point of recording outs with his other pitches.  He went six innings with seven strikeouts, also giving up two earned runs.  He’ll learn and when he does, he’ll move up.

As it turned out, the game stayed at 2-2 and went until the early morning hours, the Palm Beach Cardinals finally scoring the winning run in the 14th inning, a walk off infield single by Leobaldo Pina.  By that time, we were long-long gone, the pitching and seeing good ball playing more interesting to me than the outcome of the game.

I’ve said it many times before – Class A+ ball in the Florida State League is normally every bit as professional as a major league game, and several of the players we’ve seen over the years have graduated to the majors.

All in all it was a beautiful night for baseball at Roger Dean Stadium and an equally fine morning to run the boat one last time this season.

Monday, July 3, 2017

I Could Have Told You

One of the great joys of music is meeting different musicians and then hearing them play or sing pieces I’m not familiar with.  Wikipedia says The Great American Songbook, also known as 'American Standards', is the canon of the most important and influential American popular songs and jazz standards from the early 20th century.  That’s enormous territory and although I’ve been playing songs from that genre for more than fifty years, I still come across new ones (to me).  Most are fun to play and some are very moving.  Such is the case with the song “I Could Have Told You” The haunting melody was written by the great James Van Heusen, a friend of Sinatra’s, and the melancholic lyrics were penned by the prolific lyricist Carl Sigman. 

The  recording became a Frank Sinatra “signature song.” The Nelson Riddle arrangement was recorded as a single on December 9, 1953 just days after Sinatra reportedly attempted suicide over his broken marriage to Ava Gardner.  No wonder it is so mournful and heartfelt and supposedly he never performed it in his endless appearances on stage. Obviously, the song conjured painful memories. It later appeared on his 1959 compilation album Look to Your Heart and another one that same year, made up of mostly sorrowful songs, No One Cares.   

It was also recorded by Bob Dylan (surprisingly to me) so if one likes his voice and style you can also find it on YouTube.  It can’t compare to Sinatra’s smooth tonality and phrasing. 

Although I probably heard the song in my years of listening to Sinatra, I didn’t have the sheet music or take note of it.  I was “introduced” to it by a singer we came across in our many visits to the Double Roads Tavern in Jupiter.  The Jupiter Jazz Society headed up by Rich and Cherie Moore has a Jazz Jam there on Sunday nights.  Rich is a very talented pianist and can play almost any style. We’re supporters of the Society and try not to miss a performance.  We learned about the Society and Double Roads from our good friend (and my bass accompanist from time to time) David Einhorn who occasionally plays there.   So one connection leads to another in the small music world and there we saw a performance by an upcoming interpreter of the Great American Songbook, Lisa Remick.

A prediction: we’ll hear a lot more from her in the future.  She’s a perfectionist, the kind of singer we really appreciate, trying to go to the heart of a song, and singing it while conveying the emotional foundation of the lyrics and the melody.  Such is her interpretation of “I Could Have Told You” on her CD, Close Enough for Love.   

Thus, I was captivated by that song on her CD. I found a lead sheet for the piano and after playing it over and over again for myself, decided to record it and upload it to YouTube trying to allow the melody to speak for itself, with my usual disclaimer that it was recorded under less than ideal conditions in my living room and using a digital camera.  I played it just one time through and one can follow the lyrics which are below. It’s a gem of a song.

I could have told you
She'd hurt you
She'd love you a while
Then desert you
If only you'd asked
I could have told you so
I could have saved you
Some crying
Yes, I could have told you she's lying
But you were in love
And didn't want to know
I hear her now
As I toss and turn and try to sleep
I hear her now
Making promises she'll never keep
And soon, it's over and done with
She'll find someone new to have fun with
Through all of my tears
I could have told you so