BWW Reviews: Sondheim's SWEENEY TODD Is a Killer at the New York Philharmonic

Like the young Anthony Hope in Stephen Sondheim's scintillating SWEENEY TODD, "I've sailed the world, beheld its wonders...," with SWEENEY TODDs ranging from the original cast in New York, to an all-Japanese version in Tokyo, and have never failed to be thrilled by it. But there was something about hearing it with the New York Philharmonic, led by its music director, Alan Gilbert, that showed it in all its greatness.

Even more than when the orchestra did it previously in 2000, then led by Andrew Litton, the Philharmonic delivered all the fire they would bring to Beethoven or Stravinsky, along with the jokes as in Haydn or Rossini and gave Sondheim's wonderful music its due. They also were open to the bits of business that director Lonny Price injected into the show--swiping a stool from a bass player, the baton from Maestro Gilbert, and so on--and proved they're the best Broadway pit orchestra in town (even though they were on stage).

A great coup de theatre

Although director Price staged the previous Philharmonic incarnation as well and had the same Beggar Woman, the glorious Audra MacDonald at the performance I saw, this was otherwise a different kettle of fish. The opening was a great coup de theatre, with the cast coming out very formally, as if they were going to sing an oratorio by Handel; then they tossed aside their scores, music stands and other paraphernalia, and even flipped a prop piano on its side. They seemed to be saying "anything goes," but that unfortunately didn't quite hold up for the rest of the show.

This go-around seemed less rehearsed, less polished, more raw--though there was nothing under par about the singing. The set design by James Noone had some nice touches, such as the red hand projected on the rear wall to symbolize each of Sweeney's victims, but the arrival of his new barber chair looked like a theatre renovation cast-off and threw away the moment.

A towering voice

I've heard Bryn Terfel, the evening's Sweeney in the big Mozart operas, along with Wotan in Wagner's Ring, and admired his musicality and acting. What does he bring to Sweeney? (Though he pulled out of the orchestra's 2000 concert at the last moment, he has done the role numerous times.) A big scale voice that seems well suited for the wonderful score--and pretty stolid acting.

Terfel made faces that reminded me of the star of another Sondheim show, Zero Mostel in A FUNNY THING HAPPENED ON THE WAY TO THE FORUM. I'm not sure he has this character under his skin--undoubtedly a challenging part of the role--but that's what could change it from very decent portrayal to something more. His Sweeney didn't come across as a man wronged who's looking for vengeance, but well, just a pretty monstrous character who happened to have a towering voice.

Lively and charming

Emma Thompson was something else as Mrs. Lovett, pie-maker par excellence. Everyone came in to the performance wondering what to expect from her, since her acting chops are unbeatable but her singing was an unknown. From the moment she started "The Worst Pies in London," however, we were all at our ease. While she won't show up at the Met next year, Thompson gave a lively, charming performance that made me think of Lucille Ball's more antic characters--a different take from most I've seen--but with a soft side for her songs with Toby. Too bad Tim Burton didn't cast her in the film instead of Helena Bonham Carter (who happened to have played her sister in the Merchant-Ivory film, HOWARDS END).

The rest of the cast was more Broadway than the last time the Philharmonic did SWEENEY, which split its professionals between theatre and opera. As the juvenile couple--Johanna and Anthony--Erin Mackey and Jay Armstrong Johnson--sang charmingly but a bit blandly, failing to build characters along the way.

Over the top

One could never use the word "bland" to describe Christian Borle--so marvelous recently in LITTLE ME at City Center's Encores Series--who was over the top as Pirelli (a conman, would-be blackmailer and first victim of Sweeney's razor) and delightful at that. So was Jeff Blumenkranz as Beadle Bamford, Judge Turpin's sidekick and another of the show's remarkable cast of miscreants.

Philip Quast was a little milder than some Judge Turpins I've seen, but his strong baritone was shown off quite well in one of the creepiest songs in the Sondheim canon, as he self-flagellates while singing about his ward, "Johanna" (who also happens to be Sweeney's daughter). Kyle Brenn, as Tobias, who is taken in by Mrs. Lovett after his employer, Pirelli, is killed by Todd, sang purely and was remarkably poised in this well-experienced company, despite being a 10th grade student in high school.

New York's seen all kinds of SWEENEY TODDs, from Hal Prince's original to City Opera's "opera house" take to John Doyle's stripped-down version. Each of them was worth seeing, in their own way. The New York Philharmonic's rendition, however, put the Sondheim score where it belongs: center stage and played by some of the world's best musicians.

Pictured: Bryn Terfel and Emma Thompson as Sweeney Todd and Mrs. Lovett at the New York Philharmonic. Photo by Walter McBride.

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