When I reported on the reception of the transfer of the Watermill Theatre (216 seats) production of Sweeney Todd to Broadway’s Eugene O’Neill Theatre (1,200 seats) last Friday, I commented that although I had not been a fan of this production when I saw it at home, I would give it a second chance here. I have now just done so, at today’s (Wednesday) matinee performance, and two facts are immediately apparent: first of all, having been anointed a hit, the audience now duly respond as if they’re particularly privileged and honoured to be there, so objectivity for them has gone out of the window. But secondly, it hasn’t for me, and although there are still some distinct problems with John Doyle’s concept (which, by reducing the size of the company and making those remaining work extra hard by being engaged as musicians when they’re not acting, and often being engaged as both simultaneously) which places the idea above the plotting, at least the execution of it here is a whole lot more accomplished than it was in the UK.
It helps, of course, to have a much wider talent pool to draw on over here, to find actors willing and able to accomplish the demands of this way of working; but also distance has lent enhancement, not just in terms of the time I’ve had to grow used to this concept since I first saw it, but also in terms of my distance from the stage. This is a chamber staging that paradoxically looks better from further away.
I have also now seen Sweeney in so many different incarnations — from the Hal Prince original staging that came to Drury Lane (and was a famous flop) in 1980, to subsequent stagings on both sides of the Atlantic, from the Half Moon (now no more, on the Mile End Road) and National Theatre to a promenade staging at the Bridewell; and from Broadway’s Circle in the Square to Washington DC’s Kennedy Center (as part of the Sondheim Festival three years ago); and from New York City Opera to the Royal Opera House, Covent Garden. It is true that this version is a Sweeney like no other; but although the show is strong enough to withstand any number of different interpretations, it also remains my own opinion that this approach takes away more than it adds.
I've read your various pronouncements on this production. It seems that your argument rests on the fact that you have seen every version of this show and that somehow you better than anyone else - your fellow critics and the audience are deluded because it's not a version that you like. It's obviously all right to have these prejudices but don't denigrate an audience for not sharing them.
I saw the Watermill's touring production of Sweeney Todd at Richmond Theatre this week and was bowled over. What an astonishingly original musical this is and what a wonderfully innovative production. Jason Donovan was fine in the lead role, but for me the performances of the lesser names were a revelation. Special mention to Joanna Hickman as Johanna who played the Cello well, acted convincingly, sang beautifully and looked lovely!
Sweeney Todd is wonderful and what better memorial to the late Jill Frasesr could there be than that this production will delight and entertain for years to come?