I love that it's Johanna and the madwoman-the only two people he's ever truly cared about- who remove the blanket covering Sweeney, bringing him back to life.
I love what a class act Patti is!! Her gracious curtsy during bows and how she picked up up all of the flowers for her and handed them out to the rest of the cast.
I will defend thid Sweeney Todd till the day i die. There seems to be a misconception that because Sondheim scores are complex they must be played by massive orchestras. But this is a story about murder, madness, and cannibalism and that requires grit that Sarah Travis’s orchestrations bring that out. This Sweeney feels like a vision of hell, and all of the characters are living their own personal hells. And while i get seeing where your money goes when you spend $100+ on a broadway show, this kind of theater isn’t about elaborate sets and costumes. This is the Sweeney Todd Sondheim wanted. Intimate, and terrifying.
William McLean the best part of the score is how you don’t need a massive orchestra. The melodic complexities and harmonic genius of the score shine if you were to just play it on a piano. That’s why ALW needs a giant orchestra. If it was at all stripped down, you’d see how simple and inane the music is
I saw this version with my mom. She never saw Sweeney Todd at all before we went. We both love it for it minimalism and that all the actors were also the band. My mom and I talked about it all the way home, both it's themes and music. On a side note, I like how Sweeneys death is done here. Everyone else gets red lights and a high pitch whistle. But Sweeneys death is Important and special, and above all, the end of this madness. Reds lights but no whistle, just silence and the sound of him breathing his last. The perfect end to a story of obsession and the self destructive nature of revenge.
I'm only now become aware of the "controversy" involved to which you refer. I've NEVER labored under the delusion the score could not work without full orchestra, so this version is a revelation to me. I think it's unbelievably beautiful. In addition, it has the advantage of bringing what feels like intimacy to a Broadway stage, which cannot be easy. Were I to ask anything about this production it would be what seems a facile association with 1930's fascist Germany implicit in the choice of costuming. I think the story is timeless, so making it specifically about the Hi*ler period kind of lets humanity off the hook in a way, if you see what I mean. Possibly that wasn't the intention, but it's a way of seeing it, anyway. Again, I love this rendition and only offer speculation.
EverSide19 I feel like Sweeney’s death in a way resembles the madness passing over to Toby in a way with the lights fading in and him immediately being put into a straightjacket. And in the OG version, this is where the police find the crime scene and him breaking muttering lines about grinding the meat twice, with his voice getting deeper when he says “Slowly”. Almost showing him cracking under the situation.
Responding to an old comment, I know, but…I saw this production live myself and I agree 100%. This was a raw, visceral take on the show performed by the best cast ever to do it. Along with “Great Comet” a decade later this was the best Broadway experience I’ve ever had.
I love how they made Not While I'm Around much more important. Obviously they had to, with Toby 'telling' the story, but it's a much clearer version, because through the whole play, Toby's coloring it with his memories and impressions of people. In hindsight, he knows what Mrs. Lovett was really saying. He also just knocks it out of the park singing it, that's a huge part of it.
He's also the son of Paul Gemignani, who is Sondheim's number one musical director/conductor and another most frequent collaborator of Sondheim(like with orchestrator Johnathan Tunick)! Alexander Gemignani also played guitar Johnathan Hinkley Jr.(his first Broadway role, too!) in the 2004 production of Assassins(while also staring with Michael Cerveris(who was John Wilkes Booth) in both that and Road Show, as Addison and Wilson Mizner respectively), and has most recently musical directed, conducted, AND orchestrated the score for the Fiasco Theatre Company's production of Merrily We Roll Along! ua-cam.com/video/YrH8MIDqmVc/v-deo.html
I saw this production on Broadway more than a decade ago and it's still the best live theater I've ever experienced: disturbing, sexy, and hilarious, with iconic performances (especially LuPone's). Wonderful to be able to revisit it here.
This interpretations is so calculated and purposeful, there is no sense of naiveté it's so interesting. It's almost like it's a different musical. I mean even Johanna is mischievous and not the little hint of innocence.
I feel like when the actors are playing instruments, it subconsciously makes them seem more mature and capable, too. So Johanna comes across more deft. That's my theory anyway lol
I feel like having Toby be in an insane asylum can show that the character couldn’t handle the events of the play and ended up getting thrown into Foggs Asylum for the rest of his life. He probably either heard or saw his guardian angel (Mrs Lovett) getting thrown into the furnace or getting slashed to ribbons(this version makes it a little vague). Which ended up breaking him mentally and turning him insane. With no caretaker, he would have eventually been thrown into an asylum or jail. But with how insane he was, the asylum was the best bet. And with him in captivity, he started to envision employees and other inmates of the asylum as characters. His caretaker as Pirreli, maybe a more criminally insane inmate as Sweeney, the caterer as Mrs Lovett, a muttering mad woman as Lucy/The Miserable Woman, and the owner of the asylum and his right hand man as Judge Turpin and Beadle Bamford. And as an edit, him trying to kill himself at the the end is of course him trying to free himself from the hell of his mind. This is just a theory, but it does seem plausible.
Parker Culp Anthony and Johanna could probably be either workers who are an inseparable couple who work in different wards of the asylum or (in my opinion of what version is the best) two inmates who are separated by wards and are inseparable and the asylum casted them or recruited them because the love between them can drive the roles that they played. IDK specifically, it’s been a while since I posted this.
Just curious: is this theory to denounce the idea that Tobias was committed for killing Sweeney and most likely accused of all of his crimes? That’s always what my takeaway was from this version! Wonder if it’s just me now :) I love how thorough yours is though!
In the original story Sweeney locks Tobias up in Fogg's Asylum because he suspects what is going on, it might be a reference to that too. But your theory sounds plausible, maybe he is telling the whole story to another inmate?
I got the vibes that Johanna might also be a patient in the asylum at the same time as Tobias. And while it's definitely from the perspective of Tobias, I feel like it's plausible that Johanna and Anthony might have not worked out as they had hoped and given the events of her childhood and the play she could've had a similar reaction that this version assumes Tobias had.
I find it kind of interesting that, in the staging, they decided that these madhouse residents would rarely touch each other. It really contributes to the kind of weird aura that the whole show has.
Patti is phenomenal as Lovett, and the whole production is very creatively staged. I really enjoy this, maybe not as much as others, but it's not as bad as people have said
That's what I loved about this production. When everyone's acting, singing, and playing an instrument, and you're only 1 of 10 people on a stage, there is absolutely no room to half-ass anything. Not that Patti would ever half-ass a performance, but this is one of the few shows I've seen where from curtain up to curtain down, you can tell everyone on stage is giving it their all.
I remember this production not because I actually saw it (I was like 6-7 years old when it ran on Broadway, I was too young), but because I had seen them perform a medley of songs from this production at the Tonys when I was 7. It had a strange effect on me, as although I didn’t fully understand what was going on, I could tell it was definitely different from the stuff I had seen. This production was my first real introduction to Sondheim as I knew it.
I so wish I had been able to see this production life. I’ve known about it since it opened, but was never able to see it. I love how the actors are playing their instruments, the small cast, the stripped down orchestra, I love how Patti LuPone looks like she walked off stage from production of cabaret into a production of Sweeney Todd. I love Michael Cerveris, aka September (IYKYK)
I never liked how Sweeney would wait in the door before slamming it at the end instead of on beat, but the way this one was done was just perfect. The already dark stage was a perfect way to hold Sweeney’s final moment!!!
I don't love this production but Toby is really great in this version and the actor is so talented. His version of Not While I'm Around is my favourite recording of it.
Connor Mangan I think Sondheim said something like that about the song Epiphany that he didn't want applause after it. Of course, that didn't happen, because that song is fantastic to watch and deserves applause.
Patti is amazing!!! No words can even describe. But I'm actually a little sad by Michael's performance. It was mostly spoken and when he did sing he seemed lazy and kinda flat.
Cameron Norris I kinda see that, if you think about it by the end of Epiphany he goes full sociopath from when previously he was semi sociopath. So basically a person with suicidal and homicidal tendencies
I will watch pretty much any decent version of Sweeney Todd and honestly this is not one of my favorites. I think what it's missing is the whimsy and giddiness that plays in such stark contrast to the inherently dark nature of the show. The "gags" feel almost vaudvillian. The players ( yes even the great Patti Lupone) feel a bit stiff, very much like they're ACTING. It plays more like an opera than musical theater. And I find the instruments on stage super distracting. I will say that the vocal are outstanding.
Even though this version is wonderful, and really dives into the story in new directions to understand the characters, still dosent beat the original. And you need to know the original for this to speak the way its intended. But I suppose thats why this exists anyway. And clearly wouldn't have worked without the cast being phenominal.
In 15:17 I like the deatail of toby rushing to attack todd when she rushed at lovett.this shows a king of fore shadowing at 2:01:30 how he kills todd and shows how crazy and insane he is.
I’m not in love with this interpretation, but I see what they were doing with it and it was worth a try. Plus you get stuff like a woman playing Pirelli, and Donna Lynne is fabulous
It's a brechtchian technique. Brecht always wants you to distance yourself from what is happening on stage to think about it. He thinks if you are too immersed you can't reflect the meaning of what happens on stage anymore. The original Sweeney Todd uses many of his techniques (yet alone the "attend the tale of Sweeney Todd" part where they basically tell the audience: "Remember you are in a theater". This production uses these techniques even more.
I’m sorry, but the amount of key changes they had to do for Patti is ridiculous. The only song it worked with was Poor Thing, but the rest was terrible, especially Worst Pies in London. She was fine with George Hearn in 2001, what happened with her vocally in 5 years? Just cast somebody else at that point.
When I first heard of this interesting restaging I was skeptical. But it works. I watched it right up until Lupone's entrance. Then my enthusiasm caved. Lupone is never anyone but Lupone and she makes damn sure you know it. When every other actor is so convincingly in character and one stand-out actor is not, things collapse like a house of cards. Especially in a piece like Sweeney Todd. Too bad.
I saw this production and left extremely disappointed. I found the sparse orchestration highly dissatisfying and lacking. The whole minimalism thing felt contrived and pretentious to me. Sorry.
I cant help but feel a bit bored watching this. The music is delicious and minimized and it seems spontaneous and compliments the phrasing beautifully, but I'm just not into the performances.
Worst conception e v e r. wa wa wa: I never said anything bad about the cast, ok? so, chill out! I like BIG shows BIG! I like a full orchestra in a pit where they belong! Period. A casket. Tsk tsk. 😱🙄 Weird af!!!! But yea would love to see him be Sweeney in a setting that deserves his mastery of the character!
Appreciate the creativity of this small one. This one is amazing and terrifying. I love this musical and I’ve watched many different productions. I’m only twenty minutes into this one and I can confidently say it’s my favorite.
@@Gee-xb7rt the original had a moving two story block with moving chairs and an elevator. It had the barber's chair brought in on a crane and a huge ensemble cast. This revival had a coffin and buckets and chairs. the lesser the more minimal.
I'm surprised by how much I really enjoy this version. The actors are all disgustingly talented and I really love the staging of all of it.
I love that it's Johanna and the madwoman-the only two people he's ever truly cared about- who remove the blanket covering Sweeney, bringing him back to life.
I love what a class act Patti is!! Her gracious curtsy during bows and how she picked up up all of the flowers for her and handed them out to the rest of the cast.
Cerveris and Lupone are truly brilliant in this.
Yes
I will defend thid Sweeney Todd till the day i die. There seems to be a misconception that because Sondheim scores are complex they must be played by massive orchestras. But this is a story about murder, madness, and cannibalism and that requires grit that Sarah Travis’s orchestrations bring that out. This Sweeney feels like a vision of hell, and all of the characters are living their own personal hells. And while i get seeing where your money goes when you spend $100+ on a broadway show, this kind of theater isn’t about elaborate sets and costumes. This is the Sweeney Todd Sondheim wanted. Intimate, and terrifying.
William McLean the best part of the score is how you don’t need a massive orchestra. The melodic complexities and harmonic genius of the score shine if you were to just play it on a piano. That’s why ALW needs a giant orchestra. If it was at all stripped down, you’d see how simple and inane the music is
I saw this version with my mom. She never saw Sweeney Todd at all before we went. We both love it for it minimalism and that all the actors were also the band. My mom and I talked about it all the way home, both it's themes and music.
On a side note, I like how Sweeneys death is done here. Everyone else gets red lights and a high pitch whistle. But Sweeneys death is Important and special, and above all, the end of this madness. Reds lights but no whistle, just silence and the sound of him breathing his last. The perfect end to a story of obsession and the self destructive nature of revenge.
I'm only now become aware of the "controversy" involved to which you refer. I've NEVER labored under the delusion the score could not work without full orchestra, so this version is a revelation to me. I think it's unbelievably beautiful. In addition, it has the advantage of bringing what feels like intimacy to a Broadway stage, which cannot be easy.
Were I to ask anything about this production it would be what seems a facile association with 1930's fascist Germany implicit in the choice of costuming. I think the story is timeless, so making it specifically about the Hi*ler period kind of lets humanity off the hook in a way, if you see what I mean. Possibly that wasn't the intention, but it's a way of seeing it, anyway. Again, I love this rendition and only offer speculation.
EverSide19 I feel like Sweeney’s death in a way resembles the madness passing over to Toby in a way with the lights fading in and him immediately being put into a straightjacket. And in the OG version, this is where the police find the crime scene and him breaking muttering lines about grinding the meat twice, with his voice getting deeper when he says “Slowly”. Almost showing him cracking under the situation.
Responding to an old comment, I know, but…I saw this production live myself and I agree 100%. This was a raw, visceral take on the show performed by the best cast ever to do it. Along with “Great Comet” a decade later this was the best Broadway experience I’ve ever had.
I love how they made Not While I'm Around much more important. Obviously they had to, with Toby 'telling' the story, but it's a much clearer version, because through the whole play, Toby's coloring it with his memories and impressions of people. In hindsight, he knows what Mrs. Lovett was really saying.
He also just knocks it out of the park singing it, that's a huge part of it.
The Beadle’s piano playing 💯💯 dayyuuummm
Gwen Lee i love how his left hand is just banging the keyboard in Epiphany
He's also the son of Paul Gemignani, who is Sondheim's number one musical director/conductor and another most frequent collaborator of Sondheim(like with orchestrator Johnathan Tunick)!
Alexander Gemignani also played guitar Johnathan Hinkley Jr.(his first Broadway role, too!) in the 2004 production of Assassins(while also staring with Michael Cerveris(who was John Wilkes Booth) in both that and Road Show, as Addison and Wilson Mizner respectively), and has most recently musical directed, conducted, AND orchestrated the score for the Fiasco Theatre Company's production of Merrily We Roll Along!
ua-cam.com/video/YrH8MIDqmVc/v-deo.html
@@disgruntledcashier503
I saw this production on Broadway more than a decade ago and it's still the best live theater I've ever experienced: disturbing, sexy, and hilarious, with iconic performances (especially LuPone's). Wonderful to be able to revisit it here.
This interpretations is so calculated and purposeful, there is no sense of naiveté it's so interesting. It's almost like it's a different musical. I mean even Johanna is mischievous and not the little hint of innocence.
I feel like when the actors are playing instruments, it subconsciously makes them seem more mature and capable, too. So Johanna comes across more deft. That's my theory anyway lol
I feel like having Toby be in an insane asylum can show that the character couldn’t handle the events of the play and ended up getting thrown into Foggs Asylum for the rest of his life. He probably either heard or saw his guardian angel (Mrs Lovett) getting thrown into the furnace or getting slashed to ribbons(this version makes it a little vague). Which ended up breaking him mentally and turning him insane. With no caretaker, he would have eventually been thrown into an asylum or jail. But with how insane he was, the asylum was the best bet. And with him in captivity, he started to envision employees and other inmates of the asylum as characters. His caretaker as Pirreli, maybe a more criminally insane inmate as Sweeney, the caterer as Mrs Lovett, a muttering mad woman as Lucy/The Miserable Woman, and the owner of the asylum and his right hand man as Judge Turpin and Beadle Bamford. And as an edit, him trying to kill himself at the the end is of course him trying to free himself from the hell of his mind.
This is just a theory, but it does seem plausible.
What about Anthony and Johanna?
Parker Culp Anthony and Johanna could probably be either workers who are an inseparable couple who work in different wards of the asylum or (in my opinion of what version is the best) two inmates who are separated by wards and are inseparable and the asylum casted them or recruited them because the love between them can drive the roles that they played. IDK specifically, it’s been a while since I posted this.
Just curious: is this theory to denounce the idea that Tobias was committed for killing Sweeney and most likely accused of all of his crimes? That’s always what my takeaway was from this version! Wonder if it’s just me now :) I love how thorough yours is though!
In the original story Sweeney locks Tobias up in Fogg's Asylum because he suspects what is going on, it might be a reference to that too. But your theory sounds plausible, maybe he is telling the whole story to another inmate?
I got the vibes that Johanna might also be a patient in the asylum at the same time as Tobias. And while it's definitely from the perspective of Tobias, I feel like it's plausible that Johanna and Anthony might have not worked out as they had hoped and given the events of her childhood and the play she could've had a similar reaction that this version assumes Tobias had.
I find it kind of interesting that, in the staging, they decided that these madhouse residents would rarely touch each other. It really contributes to the kind of weird aura that the whole show has.
Patti is phenomenal as Lovett, and the whole production is very creatively staged. I really enjoy this, maybe not as much as others, but it's not as bad as people have said
@@mg-vo1vy you mean it was low budget
@@Miller-og8ke yeah the sets and lack of a choir do hurt the production but the actors are phenomenal.
I love the Mrs. Lovett in this one.
1:57:53 my god Patti belted that I love you with all of her energy
That's what I loved about this production. When everyone's acting, singing, and playing an instrument, and you're only 1 of 10 people on a stage, there is absolutely no room to half-ass anything. Not that Patti would ever half-ass a performance, but this is one of the few shows I've seen where from curtain up to curtain down, you can tell everyone on stage is giving it their all.
@@disgruntledcashier503 this was the closing night, so all of them pushed all their energy
I wish more Mrs lovetts would just go for it like that and fucking yell it. It’s such a breaking point for the character
I love this production. I love the minimalist set, and the bleak creepy look
no pude evitar aplaudir desde mi casa, espectacular en verdad
My favorite Sweeney production by far. Simple, yet unique.
2 Years Later
Ok. Now that Groban and Ashford are doing it, this opinion might change
Seeing them tomorrow and watching this to get me excited!! 😌
I remember this production not because I actually saw it (I was like 6-7 years old when it ran on Broadway, I was too young), but because I had seen them perform a medley of songs from this production at the Tonys when I was 7. It had a strange effect on me, as although I didn’t fully understand what was going on, I could tell it was definitely different from the stuff I had seen. This production was my first real introduction to Sondheim as I knew it.
if i love anything in life, i love stephen sondheim musicals that have the characters play instruments
I so wish I had been able to see this production life. I’ve known about it since it opened, but was never able to see it. I love how the actors are playing their instruments, the small cast, the stripped down orchestra, I love how Patti LuPone looks like she walked off stage from production of cabaret into a production of Sweeney Todd. I love Michael Cerveris, aka September (IYKYK)
This will forever be my favorite production of Sweeney Todd. So dark and elegant and hellish
Will NEVER get tired of Sweeney Todd!!!! And Patti Lupone is STUNNING as Lovett!!!!!!!!
I never liked how Sweeney would wait in the door before slamming it at the end instead of on beat, but the way this one was done was just perfect. The already dark stage was a perfect way to hold Sweeney’s final moment!!!
Muchísimas gracias por los subtítulos, es la única presentación completa traducida que he encontrado
they ATE
Epiphany: 1:04:56
A Little Priest 1:08:00
fantastic final broadway performance - love Patti
Donna Lynne Champlin you are perfect
it's so surprising to see a bootleg of a patti lupone performance since she's so particular about recording devices
I’m right there with the people screaming at the end of the finale.
I don't love this production but Toby is really great in this version and the actor is so talented. His version of Not While I'm Around is my favourite recording of it.
Los amé, son maravillosos !!
1:57:48 I love you too Patti
the guy who screams YEAHHHHHH right when the lights go out
One of my favorite productions of Sweeney ever.
I really wish I could find an official recording of this, there are recordings of almost every other version of this amazing musical.
did they purposely not want applause between songs? i feel like i heard they did that for this production but i cant remember
Connor Mangan I think Sondheim said something like that about the song Epiphany that he didn't want applause after it. Of course, that didn't happen, because that song is fantastic to watch and deserves applause.
at 15:17 when sweeney violently grabs mrs lovett ,toby tries to stop him but the caretakers (pirelli and fogg) dont let him do it I LOVE JOHN DOYLE
It’s odd to have a standing cellist and a sitting violinist. As a violinist it feels weird to see
Yup.
Not necessarily.
My queen, Donna, killed it!!!!!!!!1
I really wanted Timothy Nolen to play Sweeney in this production (In my opinion, he is the best Sweeney)
Gracias por los subtitulos buen cristiano!
Micheal Cerveris played Mr.Andrews in the Titanic musical.
Pirelli is Donna Lynn Champlin, who played Honoria Glossop in By Jeeves.
Patti is amazing!!! No words can even describe. But I'm actually a little sad by Michael's performance. It was mostly spoken and when he did sing he seemed lazy and kinda flat.
I honestly thought Michael had a different take on the character. Instead of a maniac, his character was more depressed.
@@cameronnorris220 I mean, he was in prison in Australia for 15 years. Can you really blame him?
Cameron Norris I kinda see that, if you think about it by the end of Epiphany he goes full sociopath from when previously he was semi sociopath. So basically a person with suicidal and homicidal tendencies
I'm amazed by this concept
I never saw this show.. but I like how they play they’re instruments
I will watch pretty much any decent version of Sweeney Todd and honestly this is not one of my favorites. I think what it's missing is the whimsy and giddiness that plays in such stark contrast to the inherently dark nature of the show. The "gags" feel almost vaudvillian. The players ( yes even the great Patti Lupone) feel a bit stiff, very much like they're ACTING. It plays more like an opera than musical theater. And I find the instruments on stage super distracting. I will say that the vocal are outstanding.
The show looks stunning and the acting is amazing, but I wonder if someone who doesn't know the plot could be able to understand what's going on...
I wonder the same. It definitely seems like it was for people who loved this show already
I was wondering this too. And to be honest, I don’t think that someone new to this production could understand what was happening.
_PAULA PROCTOR?!?_
I enjoyed this version. My only comment is about the opening. I had no idea Sweeney was a vampire!? 😆
Hola Manuel. Deseo mucho poder ver company con Raul Esparza y subtitulos en español. No tendrias un link??? Me harias un mega favor.
Patti's voice is otherworldly if Angela IS the better actress.
Love how they wear blood stained coats.
1:57:49 THE BEEEEELT IN THAT SECTION🔥🔥🔥🔥🔥
Even though this version is wonderful, and really dives into the story in new directions to understand the characters, still dosent beat the original. And you need to know the original for this to speak the way its intended. But I suppose thats why this exists anyway. And clearly wouldn't have worked without the cast being phenominal.
The Kiss me is so on point. Ive never seen funnier interpretation.
And o just love this Toby!
In 15:17 I like the deatail of toby rushing to attack todd when she rushed at lovett.this shows a king of fore shadowing at 2:01:30 how he kills todd and shows how crazy and insane he is.
i never knew this existed and im nerding out
Me encanta Sweeney Todd 🖤🖤🖤🖤🔪🔪🔪
Why are the characters playing instruments sometimes? Why isn’t there an orchestra?
Parlor Songs is terrifying
47 your next target is an actor in an exclusive theater troupe.
I’m not in love with this interpretation, but I see what they were doing with it and it was worth a try. Plus you get stuff like a woman playing Pirelli, and Donna Lynne is fabulous
What happened to Toby?
Time stamps?
Why in some scenes do the characters not face each other, but face the audience?
It's a brechtchian technique. Brecht always wants you to distance yourself from what is happening on stage to think about it. He thinks if you are too immersed you can't reflect the meaning of what happens on stage anymore. The original Sweeney Todd uses many of his techniques (yet alone the "attend the tale of Sweeney Todd" part where they basically tell the audience: "Remember you are in a theater". This production uses these techniques even more.
@@paulamusik2509 Thanks
I’m sorry, but the amount of key changes they had to do for Patti is ridiculous. The only song it worked with was Poor Thing, but the rest was terrible, especially Worst Pies in London. She was fine with George Hearn in 2001, what happened with her vocally in 5 years? Just cast somebody else at that point.
32:12
When I first heard of this interesting restaging I was skeptical. But it works. I watched it right up until Lupone's entrance. Then my enthusiasm caved. Lupone is never anyone but Lupone and she makes damn sure you know it. When every other actor is so convincingly in character and one stand-out actor is not, things collapse like a house of cards. Especially in a piece like Sweeney Todd. Too bad.
Why didn't they have a decent size orchestra pit? This doesn't do the score justice
Because that didn’t fit the ✨a r t i s t i c✨✨v i s i o n✨
No liking this version
1:57:48
At a little over halfway, and it’s too trimmed por mia.
10
Much better than Hal Prince’s production
William McLean while this production is certainly interesting, nothing can top the original for me
The 70’s weren’t ready for this production. I do prefer it though!
You mean, better than the definitive production? Lol
I saw this production and left extremely disappointed. I found the sparse orchestration highly dissatisfying and lacking. The whole minimalism thing felt contrived and pretentious to me. Sorry.
I cant help but feel a bit bored watching this. The music is delicious and minimized and it seems spontaneous and compliments the phrasing beautifully, but I'm just not into the performances.
awfull
58:30 1:27:00
A better version than the Josh Groban one. Even though Josh Groban is a fantastic singer
Worst conception e v e r.
wa wa wa: I never said anything bad about the cast, ok? so, chill out!
I like BIG shows BIG!
I like a full orchestra in a pit where they belong! Period.
A casket. Tsk tsk. 😱🙄 Weird af!!!!
But yea would love to see him be Sweeney in a setting that deserves his mastery of the character!
Appreciate the creativity of this small one. This one is amazing and terrifying. I love this musical and I’ve watched many different productions. I’m only twenty minutes into this one and I can confidently say it’s my favorite.
i saw this the 4 other people i was with fell asleep - boring production
its minimalist.... tis the point. focus on music. sorry
Gringo Pyro the original staging was minimalist, this was just meh, Patti carries the show with her ability to use the props she is given.
@@Gee-xb7rt lol no the original production is not minimalist.
Joseph Carlisle You obviously don't know what minimalism is, thanks for proving yourself an idiot. Have a nice day, moron.
@@Gee-xb7rt the original had a moving two story block with moving chairs and an elevator. It had the barber's chair brought in on a crane and a huge ensemble cast. This revival had a coffin and buckets and chairs. the lesser the more minimal.