Sweeney Todd: A Bloody Good Time

City Theater Company opens its 16th season with a riveting production of Stephen Sondheim’s Sweeney Todd. This punk-inspired version, directed Michael Gray, does justice to the show’s dark drama and masterful score. The orchestra, conducted by musical director JA Kawarsky, handles Sondheim’s contrapuntal and rhythmically challenging music with panache. Dawn Morningstar choreographs the show, getting actors up-close and personal and using every nook and cranny of OperaDelaware’s black box space. Costumes by Kerry Khristine McElrone are bold and fun.

Well cast is the show, with the actors revealing their raw, often lustful motivations. Dale Martin, Jr. sings Todd with warmth and power. Todd’s obsession with his barber’s blade, and its potential for retribution is the artery connecting each player and vignette in the tale. TS Baynes is a vocal powerhouse in her wickedly playful Mrs. Lovett. Tyler Hoffman (Pirelli) is riotously funny in the shaving competition scene, singing “You clip-a da chin. You rip-a da lip a bit.”

Aileen Goldberg is heart wrenching as the Beggar Woman, who has been reduced to insanity by life’s cruelties. Only she, Anthony and Johanna (both sung well by Brendan Sheehan and Lauren Cupples, respectively) do not succumb to the greed and bloodlust that envelops the others. Steven Weatherman plays a sorrowful Judge Turpin, who is unable to see wrong in his pedophilia. Tobias, played by Michael Jahil, is touching as he sings his song of blind devotion to Mrs. Lovett, “Not While I’m Around.” Brian Couch provides comic relief as Beadle, when he tests out Mrs. Lovett’s invisible harmonium, singing ridiculous snippets of songs. Maggie Coswell’s strong voice is excellent in the ensemble. The show runs through December 19, 2009.

See http://www.city-theater.org/.

Jessica Graae

A Director's Inspiration: Sweeney Todd

By Guest Blogger, Michael Gray

Michael is the Producing Artistic Director of City Theater Company, and one of the three founding members. He resides in Philadelphia. Here, Michael offers a look into the inspiration for the current CTC production, SWEENEY TODD.

Our "interpretation", and I use that word very loosely because we follow the script and score as written, was to approach this piece via what one might call a "punk aesthetic" --- meaning a design and performance built on simple constructs that could be utilized by most and hitting the audience with a very aggressive, assaultive and "in your face" performance.

The origins of punk music are rooted in the 3-chord song played by a guitar, bass and drums. Music and lyrics were simple and direct. This countered what some might consider the overblown psychadelic music of the mid to late 70s. In addition, the punk movement had its roots in poor, urban lower-class neighborhoods struggling with the economic downturn, loss of jobs and high inflation of the late 70s. The underlying anger and frustration can be clearly heard in the music.

We felt this "aesthetic"would lend itself nicely to Sweeney Todd. Hence, the simple scenic and lighting design, the use of nontraditional lighting instruments such as flashlights, and use of minimal props and furniture. The staging, though simple and uncomplicated, is very direct and aggressive as it sits on top of and above the audience, given the stage actually wraps around the audience. You can never get away from the show once you are seated.

The costumes areinspired by the punk movement as well and again, very simple and direct. Nothing is hidden and no special effects are used --- no special razor that sprays blood, no special barber chair. We do use lots of "blood"; it is literally painted on the actor as he or she is killed. I felt it provides a very graphic and ritualistic feel to the murders. Also, given the shift from the mid 1800s to late 20th Century, we attempt to explore some of the darker themes of the play more directly.

That said, it is a Sondheim show. The music is at once gorgeous and unsettling, difficult and inspired. A score typically sung by a group of 20-25 actors is sung here by only 10. Most do double or triple duty throughout. Watching 10 actors tackle what some consider the hardest score ever written for the Broadway stage and succeed is, in my opinion, worth the price of admission!

We do have a 9-piece orchestra with an arrangement by the great Broadway arranger JonathanTunick. We did not want to short change the music, given it is probably one of the greatest scores ever written for the stage. Overall, we think this is a Sweeney Todd no one has seen before and as such, we hope it is like seeing it for the first time!

See http://www.city-theater.org/.

Catch the Rabbit!

December 11 and 12 at the Arden Gild Hall, Bootless Artworks presents The Velveteen Rabbit, a puppet musical by Simon Chan adapted from the beloved book by Margery Williams. Directors Roseanne DellAversano and James Fuerst revised the show with the musical’s creator, Simon Chan, adding puppets to make it more accessible and fun.

The adorable hand puppets, created by DellAversano and Fuerst, are small enough to allow the audience to enjoy the actor’s voices and movements, yet they lend a fairytale feel to the show.

Sweet and playful, most of the story is set in the boy’s bedroom, where his toys come to life, arguing about which one of them is better and more loved. Big boxy toys Choo-Choo and Steamy, played by Sarah Blandy and Carlos Alicea respectively, take over the stage with their fine singing and bossy presence. Melissa Castillo (Velveteen Rabbit),is touching as she comforts the ailing Boy with her song, “All Through the Night”. Singing “The Use of Love” from atop a pile of trash, she is sure to move even the meanest fourth-grade class bully. Gary Hubbard (Harold) and Kimberly Pryor (Gwendolyn) are a riot in the jazzy song/dance number, “This Ain’t No Rabbit” as they mock and poke the forlorn stuffed animal. By the end of the show, both the boy, sung beautifully by Hunter Reed, and the Velveteen Rabbit find acceptance and love.

Bootless Artworks is committed to bringing theater to the community. Along with securing grants allowing for schools serving low-income populations to attend performances, the directors created a handbook for teachers of students up through 12th grade. This book gives tips on creating puppet-theater and provides a guide for the literary analysis.

See. http://www.bootlessartworks.org/.

Jessica Graae