Classy Comedy Closes July 19!
I say! These have certainly been the veddy best of times for me and Noel Coward's Blithe Spirit—the comic story of a man haunted by the spirit of his first wife. Back in September I saw David Lean's movie version; more recently I fulfilled my longtime desire to see the musical version, High Spirits, during its short, sold-out, Musicals in Mufti run.
And just last weekend I got around to seeing and enjoying the current Broadway production of the play (which Coward wrote during a visit to, sigh, Portmeiron). Yes, Angela Lansbury does good work in the role of the eccentric Madame Arcati—I liked how her character seemed to have an arbitrary dislike of the doctor's wife, Mrs. Bradman (Deborah Rush, bringing winning energy to this supporting character). But ultimately the strength of the production is in the depth of the entire company, performers and non-performers alike. Rupert Everett does a fine job as the haunted husband; Jayne Atkinson and Christine Ebersole as the wives contrast each other but also reveal more and more facets of their characters as the play unfolds. Complementing their work is the subtle costume design of Martin Pakledinaz and some clever blocking, especially in the final scene.
Source (3:08)
Showing posts with label Angela Lansbury. Show all posts
Showing posts with label Angela Lansbury. Show all posts
Wednesday, July 08, 2009
Friday, January 18, 2008
SWEENEY TODD: THE DEMON BARBER OF FLEET STREET
Each version I've seen of the mad barber musical Sweeney Todd: The Demon Barber of Fleet Street continues to be more pared down than the one before it, but I've still enjoyed them all. In the new movie version, director Tim Burton and screenwriter John Logan slice and dice the Stephen Sondheim original to such a degree that I'm not surprised that gallons of blood are spilled in the process. If you can stand the blood and you have any interest at all in Sweeney Todd, I encourage you to give the movie a whirl while it's at the Ziegfeld or a similarly large and well-outfitted theater.
I still remember what it was like to see a new movie musical at a big plush theater such as Radio City Music Hall or the now bemoaned Cinema 150 in Syosset, Long Island. It was an "event" that was somehow like going to an opening night of a real Broadway musical. And that says something about how atmosphere, anticipation, and enthusiasm help to make such events memorable (though it also helps if the musical happens to be any good).
These days you can still get that special "opening night" feeling at the Ziegfeld, which has a sound system that enabled even the organ music accompanying the opening production credits of Sweeney Todd to make a strong impression. Now and then there was some distortion, but the projection of the images was wonderfully crisp throughout.
As director, Burton infuses Sweeney Todd with morbid despair, furthering the recent trend that emphasizes the grimness of the story while downplaying (but hardly eliminating) its potential for giddy gallows humor and even some moments of vital optimism. He makes the mood visible in the production design and audible in the reduction of certain lyrics to the equivalent of mad mutterings. On stage, the great number "A Little Priest" gives the leads a golden opportunity to "work the audience" with exquisitely timed delivery of some of Sondheim's cleverest lyrics, but on screen it is easy to not even notice the wordplay as Burton abandons the theatrics and hews to his very cinematic approach. That approach works, but don't leave with the impression that Burton's take on Todd is the only one possible, as the video clips below should illustrate.
Seeing Johnny Depp and Helena Bonham Carter as the grotesque leads (pictured, with Depp resembling Susan Sontag), I couldn't help but reflect on how far they've come from their early days as a teen idol and a Merchant-Ivory ingenue. Good for them! I don't know who's responsible for the moment in Sweeney Todd when Carter's Mrs. Lovett moves her feet this way and that on a beach blanket, but I love that little touch. It's also amusing (to me, at least) to think of her and Alan Rickman (who plays Judge Turpin) and Timothy Spall (who plays Beadle Bamford) in terms of their nasty alter-egos from the Harry Potter movies. Hermione ought to do some research to learn if Voldemort's hordes had anything to do with the Sweeney Todd affair.
And now, here's "A Little Priest" with Angela Lansbury, Broadway's original Mrs. Lovett, and George Hearn as the barber.
Source (8:23)
And here is a rare view of Lansbury with the original barber, Len Cariou. The quality of the video is poor, but just listen to the interplay between the performers and the audience, which laughs all the way through. That's not likely to happen with the movie version.
Source (8:02)
Each version I've seen of the mad barber musical Sweeney Todd: The Demon Barber of Fleet Street continues to be more pared down than the one before it, but I've still enjoyed them all. In the new movie version, director Tim Burton and screenwriter John Logan slice and dice the Stephen Sondheim original to such a degree that I'm not surprised that gallons of blood are spilled in the process. If you can stand the blood and you have any interest at all in Sweeney Todd, I encourage you to give the movie a whirl while it's at the Ziegfeld or a similarly large and well-outfitted theater. I still remember what it was like to see a new movie musical at a big plush theater such as Radio City Music Hall or the now bemoaned Cinema 150 in Syosset, Long Island. It was an "event" that was somehow like going to an opening night of a real Broadway musical. And that says something about how atmosphere, anticipation, and enthusiasm help to make such events memorable (though it also helps if the musical happens to be any good).
These days you can still get that special "opening night" feeling at the Ziegfeld, which has a sound system that enabled even the organ music accompanying the opening production credits of Sweeney Todd to make a strong impression. Now and then there was some distortion, but the projection of the images was wonderfully crisp throughout.
As director, Burton infuses Sweeney Todd with morbid despair, furthering the recent trend that emphasizes the grimness of the story while downplaying (but hardly eliminating) its potential for giddy gallows humor and even some moments of vital optimism. He makes the mood visible in the production design and audible in the reduction of certain lyrics to the equivalent of mad mutterings. On stage, the great number "A Little Priest" gives the leads a golden opportunity to "work the audience" with exquisitely timed delivery of some of Sondheim's cleverest lyrics, but on screen it is easy to not even notice the wordplay as Burton abandons the theatrics and hews to his very cinematic approach. That approach works, but don't leave with the impression that Burton's take on Todd is the only one possible, as the video clips below should illustrate.
Seeing Johnny Depp and Helena Bonham Carter as the grotesque leads (pictured, with Depp resembling Susan Sontag), I couldn't help but reflect on how far they've come from their early days as a teen idol and a Merchant-Ivory ingenue. Good for them! I don't know who's responsible for the moment in Sweeney Todd when Carter's Mrs. Lovett moves her feet this way and that on a beach blanket, but I love that little touch. It's also amusing (to me, at least) to think of her and Alan Rickman (who plays Judge Turpin) and Timothy Spall (who plays Beadle Bamford) in terms of their nasty alter-egos from the Harry Potter movies. Hermione ought to do some research to learn if Voldemort's hordes had anything to do with the Sweeney Todd affair.
And now, here's "A Little Priest" with Angela Lansbury, Broadway's original Mrs. Lovett, and George Hearn as the barber.
Source (8:23)
And here is a rare view of Lansbury with the original barber, Len Cariou. The quality of the video is poor, but just listen to the interplay between the performers and the audience, which laughs all the way through. That's not likely to happen with the movie version.
Source (8:02)
Friday, November 30, 2007
BROADWAY'S BACK: THE MUSICAL!From I Love New York Theater:
Free Concert Celebrates Broadway's Return!Photo: David Marc Fischer
Shows Resume Normal Performance Schedules on Thursday, November 29
Free concert set for November 30 with all shows set to participate
Broadway Welcomes Fans Back With Special Offers
Broadway theatres light their lights once again on Thursday evening, November 29. Enter site for performance schedules, show descriptions, official websites, and ticketing links.
To celebrate Broadway's return, the theatre community is presenting a Free Concert at noon on Friday, November 30 at the Marquis Theatre. The event will include performances and special appearances by cast members from all current Broadway shows, many in costume. There will also be special performances by Angela Lansbury; Bernadette Peters; The Color Purple's Fantasia; the Tony Award®-winning creator of The Drowsy Chaperone, Bob Martin; and others. Featuring full orchestra led by Seth Rudetsky.
Free Concert
Marquis Theatre
1535 Broadway at 45th Street
Friday November 30 - 12:00 noon
Doors Open at 11:30 a.m.
Performers and appearances subject to change
Admission is free, first come first served.
Broadway is also welcoming back its fans with an array of special offers, Times Square restaurant deals, a sweepstakes, and more. Keep checking back for details.
The TKTS Discount Booth in Duffy Square will open early at 2:00 p.m. on Friday, November 30!
Thursday, April 26, 2007
THURSDAY MIRTH Last night, as I strolled through the theater district, I spotted Angela Lansbury signing autographs. Then, today, I received an email referring to the novel Special Topics in Calamity Physics by Marisha Pessl. So perhaps it is not surprising that my thoughts have turned to a classic scene from the Danny Kaye vehicle The Court Jester.
The clip starts a little slow, but the payoff is worth it. And it's going out with best birthday wishes for Emily and Scott. (Click here to check out an exciting new team endeavor by Scott and Debbie!)
Source (9:59)
The clip starts a little slow, but the payoff is worth it. And it's going out with best birthday wishes for Emily and Scott. (Click here to check out an exciting new team endeavor by Scott and Debbie!)
Source (9:59)
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