home
***
CD-ROM
|
disk
|
FTP
|
other
***
search
/
TIME: Almanac 1990
/
1990 Time Magazine Compact Almanac, The (1991)(Time).iso
/
time
/
092589
/
09258900.074
< prev
next >
Wrap
Text File
|
1990-09-17
|
2KB
|
35 lines
THEATER, Page 76Razor's EdgeImagining Sweeney's world
The first time around, Sweeney Todd, the gruesome tale of a
deranged barber who slits customers' throats and a pragmatic
landlady who bakes the victims into meat pies, was a Victorian
penny dreadful by way of Brecht. Everything imitated him: Hugh
Wheeler's book, Stephen Sondheim's score, Harold Prince's staging
and even the set, which resembled an iron foundry; it hissed and
clanged of the dehumanization of the Industrial Revolution.
Audiences in 1979 flinched at the spewing blood and spoken bile:
it seemed there had never been so cynical a musical.
A kinder, gentler Sweeney was unimaginable until Susan H.
Schulman's intimate reconsideration arrived on Broadway last week.
This time the tale comes by way of Dickens. London's gaslit windows
ring the circular seating. Tattered gray laundry sags from
clotheslines all around. Turbulent street life spills into the
aisles. Gloomy, angry and unjust Sweeney's world remains, but human
connections now matter.
Sweeney and his landlady are at bottom leftist abstractions.
He is the innocent man turned criminal by a wicked power structure;
exiled by a corrupt judge who lusted after his wife, he returns
vowing to show nobody any more mercy than he received. Mrs. Lovett
is a singing, dancing and grimacing Mother Courage, sapped of moral
scruple by economic privation and sheer will to survive. Beth
Fowler and Bob Gunton sing nobly, and the production's intimacy
includes a welcome emphasis on natural, unmiked sound. She enriches
Lovett with a lifelong ardor for Sweeney and a pixilated fondness
for romantic fancy. He believably underscores the improvisatory
quality of Sweeney's first murders, turning him from a monster into
a man who howls piteously over the body of his beloved wife, lost
and too late found. As corpses pile up in the apocalyptic finale,
this version urges spectators not only to think but also to feel.