I've written a review for http://www.backstagepass.biz/ so thought I'd drop a link to it here on my blog:
http://www.backstagepass.biz/2014/02/comedy-review-eat-pray-laugh-barry.html
With a showbiz career spanning more than half a century which includes being in the original company of Lionel Bart's "Oliver!" and featuring in "The Hobbit: An Unexpected Journey", Barry Humphries returns to Glasgow' King's Theatre for the first time since 1987 with his "Eat, Pray, Laugh" Farewell Tour which concentrates on the creations of Humphries himself, appropriately a celebration of the talent that Humphries clearly still possesses.
Initially we are faced with Brian Thomson's charmingly simple, backyard set featuring a tool shed and an outdoor 'dunny' (toilet to us Brits) appearing harmless enough, together with an onstage piano, adorned in an elegant grass covering, matching its clipped hedge surroundings.
The comedy begins in earnest when Les Patterson arrives with his backing troupe, the "Condiments", and recounts snippets of his life for us replete with asides, innuendos and a terrific interaction with the audience (complete with spittle - beware if you're sitting in the front row of the stalls!). Les is, of course, infamously crude, somewhat vulgar and certainly not PC. He is a cleverly created caricature of a sexist, racist, self-serving politician. And the audience love it, even his singular use of the 'dunny'. We are also treated to some song and dance throughout as Les reveals the next stage of his career beyond politics; "Les Get Cookin'" in which we are 'treated' to Les' culinary skills.
It is Les who here provides the first opportunity - and there are several throughout the evening - for audience interaction, a tricky theatrical tool, but here used to excellent effect with Humphries proving his ability to improvise and deal with the unexpected. Humphries even uses this audience participation as part of a segue into his next, less familiar, character, Gerard.
Introducing a less familiar character is always interesting and permits a fresh element to the evening's proceedings and allows Humphries to play some more with the audience and their expectations. Indeed, towards the end of the first act the tone changes dramatically as we are faced with an unexpectedly poignant character, Sandy Stone, who, sitting alone in spotlight, talks about issues that come to many later in life and even beyond it. This, of course, only serves to make the humour which ultimately arrives all the more important and uplifting although the contrasting changes of tone and pace come as a surprise to some.
The second act opens with an eastern influenced flavour in design and is devoted to that Grande Dame of Showbiz, Dame Edna Everage herself, who, naturally, received a rapturous applause following a humorous look back on the scandals of her life in the style of a schlocky Showbiz promo entitled "Dame Edna Revealed". This set up enabled Dame Edna to enter into her frank conversation about the reasons for her retirement with an audience who are more than eager to listen.
Humphries is clearly most at home in the guise of the World's most famous housewife and Dame Edna really does shine, be it in her quick asides, her barbs, clever one-liners, sharp tongue (which is mostly directed at particular audience members and their appearance or social standing), or her witty 'honesty'. We are privy to personal insights into the life of Dame Edna and of her family, not to mention her medical history. Indeed, Dame Edna's favourite subject is the primary topic and that subject is, of course, herself, as Dame Edna is eager to remind us.
However, Dame Edna is all heart and she endeavours to bring romance to a lucky pair from the audience in a final piece of onstage audience participation that shows what a master Humphries is at his art, before culminating in a song and dance fit for the Dame.
It is in this second act that everyone, onstage and off, is having the most fun and appears most at ease.
Simon Phillips' direction of the witty, outrageous and downright funny material is crisp and sharp, even if the sudden shift in act one comes somewhat abruptly. The ensemble cast are clearly having fun whilst Nick Len, who provides the musical accompaniment at piano throughout, almost never leaves the stage.
But, of course, the evening naturally belongs to Humphries himself who naturally shines in whatever role he is embodying. It is a testament to his prowess as an actor and performer that he is so deftly able to transform, and convince, from one character to the next. Humphries is also a generous performer in that it never seems a selfish show, despite the characters involved, but rather a production that revels in, and is appreciative of, the existence of its audience.
Whilst the humour may sometimes be on the cusp, Humphries' delivery is so knowing and given with such verve and appeal that it is never seen as an attack, even upon the poor souls who are its subject. It is all part of the fun and Humphries is somehow able to create an atmosphere of such joviality that the audience are always ultimately treated with respect. Indeed it is clear that this show is a thank you, a love letter even, to all who have ever seen, encountered or endured any of Humphries' creations. A fact reiterated when the man himself makes a final curtain speech as Barry Humphries; perhaps the most honest and touching element of the evening.
It is a fond farewell indeed.
Wednesday, 12 February 2014
Friday, 13 September 2013
'The Color Purple', Menier Chocolate Factory, 31/7/13
This one may contain spoilers (as might all my posts).
Alice Walker's novel is famous in its own right and spawned an Oscar nominated film directed by Steven Spielberg. In 2005 a musical version opened on Broadway and now that musical has finally reached the shores of dear ol' Blighty, albeit in a new, stripped down, version directed by Tony winner John Doyle.
The Menier Chocolate Factory has gained a reputation for creating excellent work and they have done no less here.
The intimate space works wonders for the production where props are minimal and the set almost nothing bar washed down wooden boards. In this production you feel almost involved; indeed during the opening number the ensemble interact with the audience.
Simplicity is the name of the game here and the bare staging works to allow the words and music to do most of the work rather than fussy staging and choreography. Even the reduced orchestra sounds more appropriate than the larger one heard on the Original Broadway Cast Recording.
The cast are divinely selected and I can think of no one person who is a weak link. Some of the casting choices may come as a bit unexpected, if you know the film for example, but this adds a refreshing air to the roles and they still are suited to their parts. And the vocals that come out of each and everyone of the company must be amongst the strongest ever assembled in a musical. So much so that when singing as a company they gel perfectly and harmoniously, no more so than in the final (title) number.
As 'Celie', Cynthia Erivo is simply wonderful - as if born for this role. Her stillness is as powerful as her vocals and her arc throughout the performance is well defined; despite being the smallest person onstage her presence is one not to be ignored, even as her character is. The growth and development of 'Celie' is well metered and honest and one gets a sense that what is eventually freed from within her has truly been there all along, waiting for the opportunity to be seen by another.
That other is 'Shug', the woman who sees more than most, and Nicola Hughes presents her more than a free and easy spirit. She is real, earthy, honest and magnetic.
Christopher Colquhoun as 'Mister' goes beyond caricature and creates a man both terrible and sympathetic, certainly not an easy task given the nature of the character.
Sophia Nomvete reinvents 'Sofia' and gives one of the most fetching performances as she seizes the stage with full vivacity to imbue life and energy into a woman not content to be treated like others she sees around her and, when beaten down, she becomes truly pathetic and sad which makes her phoenix-like rebirth all the more impressive and believable.
Likewise all other cast members make each character their own, such as Adebayo Bolaji who makes 'Harpo' and enchanting, attractive character and nothing like the bumbling joke seen in the film adaptation.
Whilst the original Broadway production had a large, bombastic, orchestration the new, smaller, orchestration is appropriate to this production allowing the human voice to truly be the primary instrument heard. Any larger an orchestration would have sounded quite ridiculous in the small, intimate venue but, also, this new orchestrations strips away some of the musical decoration around the main melodies and gives the score an added poignancy and simplicity that speaks more directly to the audience.
Indeed this is true of the production as a whole - less is more: The slightly revised book is allowed to breath as much as the lyrics and music and by doing away with extensive props and scenery the plot and its characters are presented with pristine clarity.
It is such a shame that this production is not to be transferred to the West End although rumours of a future on Broadway and beyond have been sounded. What Broadway would make of such a tiny production, I have no idea, since most Broadway musicals tend to be large affairs. If it were to be produced in a large Broadway theatre then the production would have to be altered somewhat, so as not to get lost in such a cavernous venue, and that would be a bit of a shame since the intimacy of the production is part of its charm. That said, even a West End transfer would have necessitated some alterations (especially given the fact that the show is on a thrust stage rather than within the confines of a proscenium) but in a smaller theatre it could be made to work.
Whatever its future I just hope that this production has one!
Alice Walker's novel is famous in its own right and spawned an Oscar nominated film directed by Steven Spielberg. In 2005 a musical version opened on Broadway and now that musical has finally reached the shores of dear ol' Blighty, albeit in a new, stripped down, version directed by Tony winner John Doyle.
The Menier Chocolate Factory has gained a reputation for creating excellent work and they have done no less here.
The intimate space works wonders for the production where props are minimal and the set almost nothing bar washed down wooden boards. In this production you feel almost involved; indeed during the opening number the ensemble interact with the audience.
Simplicity is the name of the game here and the bare staging works to allow the words and music to do most of the work rather than fussy staging and choreography. Even the reduced orchestra sounds more appropriate than the larger one heard on the Original Broadway Cast Recording.
The cast are divinely selected and I can think of no one person who is a weak link. Some of the casting choices may come as a bit unexpected, if you know the film for example, but this adds a refreshing air to the roles and they still are suited to their parts. And the vocals that come out of each and everyone of the company must be amongst the strongest ever assembled in a musical. So much so that when singing as a company they gel perfectly and harmoniously, no more so than in the final (title) number.
As 'Celie', Cynthia Erivo is simply wonderful - as if born for this role. Her stillness is as powerful as her vocals and her arc throughout the performance is well defined; despite being the smallest person onstage her presence is one not to be ignored, even as her character is. The growth and development of 'Celie' is well metered and honest and one gets a sense that what is eventually freed from within her has truly been there all along, waiting for the opportunity to be seen by another.
That other is 'Shug', the woman who sees more than most, and Nicola Hughes presents her more than a free and easy spirit. She is real, earthy, honest and magnetic.
Christopher Colquhoun as 'Mister' goes beyond caricature and creates a man both terrible and sympathetic, certainly not an easy task given the nature of the character.
Sophia Nomvete reinvents 'Sofia' and gives one of the most fetching performances as she seizes the stage with full vivacity to imbue life and energy into a woman not content to be treated like others she sees around her and, when beaten down, she becomes truly pathetic and sad which makes her phoenix-like rebirth all the more impressive and believable.
Likewise all other cast members make each character their own, such as Adebayo Bolaji who makes 'Harpo' and enchanting, attractive character and nothing like the bumbling joke seen in the film adaptation.
Whilst the original Broadway production had a large, bombastic, orchestration the new, smaller, orchestration is appropriate to this production allowing the human voice to truly be the primary instrument heard. Any larger an orchestration would have sounded quite ridiculous in the small, intimate venue but, also, this new orchestrations strips away some of the musical decoration around the main melodies and gives the score an added poignancy and simplicity that speaks more directly to the audience.
Indeed this is true of the production as a whole - less is more: The slightly revised book is allowed to breath as much as the lyrics and music and by doing away with extensive props and scenery the plot and its characters are presented with pristine clarity.
It is such a shame that this production is not to be transferred to the West End although rumours of a future on Broadway and beyond have been sounded. What Broadway would make of such a tiny production, I have no idea, since most Broadway musicals tend to be large affairs. If it were to be produced in a large Broadway theatre then the production would have to be altered somewhat, so as not to get lost in such a cavernous venue, and that would be a bit of a shame since the intimacy of the production is part of its charm. That said, even a West End transfer would have necessitated some alterations (especially given the fact that the show is on a thrust stage rather than within the confines of a proscenium) but in a smaller theatre it could be made to work.
Whatever its future I just hope that this production has one!
Saturday, 20 April 2013
Monday, 4 February 2013
The Life I Never Led?
I wrote this several months back but failed to publish it. It's still relevant so I publish it unedited:
So I am but a few short months shy of my 33rd birthday and as I look back and contemplate and the life I never led I am forced to confront the unalterable truth that in my years upon this rock I have achieved nothing. Whilst others around my plough on with successful careers, family lives and other assortments that constitute the milieu of life the only thing I can say I have done is survive. Survive the trivial issues which have plagued my existence. But that isn't enough is it? Not for me and certainly not for anyone else who would know me. I have nothing to show for my worth.
I am a nihilist, a fatalist and, though I try, I think one cannot, ultimately change one's nature. I am the way I am and it is only in accepting that fact that is it possible to look at things with any objectivity. After all if one deludes himself with a false impression then any possible outcome or solution would be nullified when any attempt at implementation was acted upon.
One thing I am, and for some times have been, aware of is that I have no desired purpose. My guess is that many people know what it is they wish to accomplish in their life but this is not so with myself. There is no career that has really called to me at the cost of all else, although I am very aware that the creative arts are were I am most strongly drawn. Once upon a time I would have said I wished to be an actor but many moons ago I realised that this was not the case; I found I disagreed with most decisions made by directors, that I would always play too much and not take the job seriously enough, that only following the completion of a run would I be able to offer the performance what it needed. Yet I still very much enjoy singing and some years ago, perhaps naturally, found I had a natural aptitude for directing but, alas, life interferes in any pursuit of these.
Christopher Isherwood wrote 'I am a camera', perhaps his most famous quote, but I am a blank page waiting to be writ upon. Until then I serve no purpose in life.
I wonder if I search for something other than the things I lament. In many ways I have always felt ill at ease with the world at large, out of place with the people around me and greatly dissatisfied with the world, how it works and what it has to offer. Perhaps I still grieve for the things I have lost so many years ago and part of me will forever remain incomplete and will continue aching for something to replace them.
I wonder. As always.
So I am but a few short months shy of my 33rd birthday and as I look back and contemplate and the life I never led I am forced to confront the unalterable truth that in my years upon this rock I have achieved nothing. Whilst others around my plough on with successful careers, family lives and other assortments that constitute the milieu of life the only thing I can say I have done is survive. Survive the trivial issues which have plagued my existence. But that isn't enough is it? Not for me and certainly not for anyone else who would know me. I have nothing to show for my worth.
I am a nihilist, a fatalist and, though I try, I think one cannot, ultimately change one's nature. I am the way I am and it is only in accepting that fact that is it possible to look at things with any objectivity. After all if one deludes himself with a false impression then any possible outcome or solution would be nullified when any attempt at implementation was acted upon.
One thing I am, and for some times have been, aware of is that I have no desired purpose. My guess is that many people know what it is they wish to accomplish in their life but this is not so with myself. There is no career that has really called to me at the cost of all else, although I am very aware that the creative arts are were I am most strongly drawn. Once upon a time I would have said I wished to be an actor but many moons ago I realised that this was not the case; I found I disagreed with most decisions made by directors, that I would always play too much and not take the job seriously enough, that only following the completion of a run would I be able to offer the performance what it needed. Yet I still very much enjoy singing and some years ago, perhaps naturally, found I had a natural aptitude for directing but, alas, life interferes in any pursuit of these.
Christopher Isherwood wrote 'I am a camera', perhaps his most famous quote, but I am a blank page waiting to be writ upon. Until then I serve no purpose in life.
I wonder if I search for something other than the things I lament. In many ways I have always felt ill at ease with the world at large, out of place with the people around me and greatly dissatisfied with the world, how it works and what it has to offer. Perhaps I still grieve for the things I have lost so many years ago and part of me will forever remain incomplete and will continue aching for something to replace them.
I wonder. As always.
Monday, 7 January 2013
Heaven On Their Minds - Stephen Tate
Another (quick) video I created since I've had some requests to upload more of the Original London Cast album.
Stephen Tate performs as 'Judas'.
Stephen Tate performs as 'Judas'.
Thursday, 20 December 2012
'Taboo', Brixton Club House, 11/12/12
'Taboo' is an affectionate reflection on the New Romantic club scene and the people who frequented it. The fictional plotline women around the real life figures, replete with an outstanding score by Boy George and Kevan Frost, was a big success first time around. Now, all the original creatives have re-assembled and reworked the show, rejigging the plot-line, the score and even the design.
Now a sight-specific production, taking place in an actual club, this new update works even better than the original (which I thought would be almost impossible). The New York adaptation has all but been forgotten (and with good reason) aside from a few musical numbers which were created for the NY run and which are seamlessly integrated here. The original 'raw' aspect is restored to the play much to its benefit, unlike the sleek, polished, Broadway production.
The reworked script clarifies the plot even more and changes 'Billy's' journey slightly making his story arc more transparent and believable. Likewise the other characters this change impacts.
The cast are exceptional and, led by original cast member Paul Baker, reprising his role as 'Phillip Salon' sing and act mere inches away from the audience. Such bravery, especially given the attire and roles they perform is acting at its best. Alistair Brammer as 'Billy' is everything required of the role and strikingly handsome to boot. A leading man, indeed, and one to watch! Matthew Rowland as 'Boy George' is something, also, although memories of Euan Morton in the role are quite pervasive.
Sam Buttery as 'Leigh Bowery' lends a beautiful voice and honest soul to the performance. And he makes some brave choices in his portrayal.
The club setting, and the close proximity of the audience to the cast, is part of what makes this production work so well. Here one is all but part of the show.
The three piece band, plus sound design is first rate and perform O'Dowd's score to perfection.
My only gripe is that one or two numbers written for the Broadway staging that aren't included here could have been with little adaptation required. I also miss 'Church of the Poisoned Mind' from the original staging. But these are very minor quibbles in a show that has reworked itself to near perfection.
Catch this show while you can. Prepare to be transported to a world where everything's 'taboo'. Prepare to be moved, also!
'Hansel & Gretel', GAMTA, 20/12/12
Advertised as a 'dark and devilish new musical' this reworking of the fairy story is an enjoyable affair even though it doesn't quite live up to the 'dark' or 'devilish' part. The closest it gets is in the character of the witch who, rather than eat little children, turn them into mindless drones continually accessing knowledge via wi-phones.
There is a surprising array of talent on display in this production, from the youngest cast member to the eldest. Since there is not a complete cast list with character names attached in the programme is it difficult to pick any ensemble individuals out, although there were more than a few. As part of the 'adult' cast I'll state here and now that the 'baker' was rather flavoursome!
Chris Roberts (another handsome chap) led well as the eponymous characters' father 'John Clay', his strong voice and physical presence suited for the role, whilst his gentle nature was brought out subtly. 'Lisa Wilson' as 'Fable' clearly enjoyed her role as potential pure evil, yet we also see something more underneath. She has a pretty, pure voice and I can't say that any one performer was really weak.
Stephen Allen and Millie Innes as 'Hansel' and 'Gretel' worked wonderfully together with Innes especially confident and strong, as befits the role as written. Likewise Alex Fulton (I believe) performed well as their best friend 'Ilsa'.
The simple set and lighting designs by john Holding were more than effective, especially the latter, although at times some of the changes were a bit heavy handed and not as gentle or as subtle as they could have been.
The libretto could have been trimmed down a little, with act one being a trifle too long. It does seems at times as though author and director Shaaron Graham tries to hard to put a point across but her twist on the whole information age with the children permanently attached (literally) to their phones is a neat one. There are some plot holes errors such as when we learn that the village of 'Storyville' has closed itself off from the outside world yet we hear references to things such as Disney, likewise we are told early on that the children are taught about what happened to 'Fable', a child who wished to know too much and was thus seen as different to the rest of the village and therefore banished. We subsequently learn in an act two song about her history that the townsfolk decided never to speak of the event ever again. Did they change their minds?
Ah well, such things can be overlooked, I guess. After all this modern morality play still has something to say despite its somewhat hurried and sentimental ending where all is forgiven, naturally. But it wouldn't be a fairy story without a happy ending, right?
As for the musical numbers written by Stuart Bird (additional lyrics by Graham) there are quite a few catchy numbers sung with verve by the company and several ballads, many of which are quite tender. The lyrics may not be always the most original but they suit the piece and there are only one or two superfluous numbers such as 'The Argument' (its latter half however, 'My children' is not). Personally I always find it a shame when a live band or orchestra is not used but in such a small venue I can understand the use of pre-recorded material, although I'm sure the music could be orchestrated for a small four or five piece band which could be installed in a corner somewhere. I also think that the orchestration, at times, was a bit heavy, although, for the most part, it all worked quite well.
Lisa Mathieson' choreography was sprightly and varied and the direction by Graham, for the most part, was lively, if not always original, and there were only a few moments where we were faced with an empty stage. Indeed when the stage was full it was full.
Were this to be produced in the future I would certainly rework the script somewhat, tightening it and excising the excess, likewise the unnecessary musical numbers. I also would have liked this production to have been darker as it certainly had the potential to be so. As it was the production was enjoyable, catchy and actually had a little social message behind it.
There is a surprising array of talent on display in this production, from the youngest cast member to the eldest. Since there is not a complete cast list with character names attached in the programme is it difficult to pick any ensemble individuals out, although there were more than a few. As part of the 'adult' cast I'll state here and now that the 'baker' was rather flavoursome!
Chris Roberts (another handsome chap) led well as the eponymous characters' father 'John Clay', his strong voice and physical presence suited for the role, whilst his gentle nature was brought out subtly. 'Lisa Wilson' as 'Fable' clearly enjoyed her role as potential pure evil, yet we also see something more underneath. She has a pretty, pure voice and I can't say that any one performer was really weak.
Stephen Allen and Millie Innes as 'Hansel' and 'Gretel' worked wonderfully together with Innes especially confident and strong, as befits the role as written. Likewise Alex Fulton (I believe) performed well as their best friend 'Ilsa'.
The simple set and lighting designs by john Holding were more than effective, especially the latter, although at times some of the changes were a bit heavy handed and not as gentle or as subtle as they could have been.
The libretto could have been trimmed down a little, with act one being a trifle too long. It does seems at times as though author and director Shaaron Graham tries to hard to put a point across but her twist on the whole information age with the children permanently attached (literally) to their phones is a neat one. There are some plot holes errors such as when we learn that the village of 'Storyville' has closed itself off from the outside world yet we hear references to things such as Disney, likewise we are told early on that the children are taught about what happened to 'Fable', a child who wished to know too much and was thus seen as different to the rest of the village and therefore banished. We subsequently learn in an act two song about her history that the townsfolk decided never to speak of the event ever again. Did they change their minds?
Ah well, such things can be overlooked, I guess. After all this modern morality play still has something to say despite its somewhat hurried and sentimental ending where all is forgiven, naturally. But it wouldn't be a fairy story without a happy ending, right?
Lisa Mathieson' choreography was sprightly and varied and the direction by Graham, for the most part, was lively, if not always original, and there were only a few moments where we were faced with an empty stage. Indeed when the stage was full it was full.
Were this to be produced in the future I would certainly rework the script somewhat, tightening it and excising the excess, likewise the unnecessary musical numbers. I also would have liked this production to have been darker as it certainly had the potential to be so. As it was the production was enjoyable, catchy and actually had a little social message behind it.
Monday, 17 December 2012
'Sweeney Todd', Adelphi Theatre, London, 29/8/12
This one is very late but I am, at last, getting it down (indeed there are a few other reviews I have yet to put down).
This production was, to put it simply, perfect. From the cast, through to the lighting and sound design, the set and the orchestra, every thing coalesced to create one of the most thrilling, engaging and sublime pieces of theatre I have ever experienced.
This was no mere rehashing or retreading of past productions but a fresh take that approached the work with a more realistic edge than the original melodramatic approach: Even before the first note of the Overture the cast milled about onstage going about the daily drudgery of their lives in the dirty east end of London, efficiently setting up the environment before the show had started proper - these were hard times and people were suffering.
It is difficult to single out any one cast member but it is quite appropriate to say that Imelda Staunton as 'Mrs. Lovett' and Michael Ball as the title character were revelations. Staunton, especially, clearly played the role in a way not seen before - here was a person truly as vile and warped as Todd himself.
Lucy May Barker's voice was glorious as 'Lucy' and hers was no dumb blonde of a role. Likewise James McConville's 'Toby' was no mere idiot, rather he was played as a naive boy with learning difficulties. I found his 'Not While I'm Around' truly heartbreaking.
The set was ingenious, industrious and, at times played subtle homage to the original Hal Prince staging. The lighting perfectly complimented this with atmospheric use of light and shade.
The sound design was divine with voices layered in a way I've never heard before - with some voices more 'present' than others at times, the sense was one of aural depth, the likes of which complimented Sondheim's perfect score tremendously.
I only wish the run had been extended and that the production had been filmed. It truly was perfect in every way and I lament the fact that the cast recording was only a highlights album (and one full of strange choices - 'Pirelli's' numbers are excluded as is 'Green Finch and Linnet Bird').
I shall treasure the memory, however.
This production was, to put it simply, perfect. From the cast, through to the lighting and sound design, the set and the orchestra, every thing coalesced to create one of the most thrilling, engaging and sublime pieces of theatre I have ever experienced.
This was no mere rehashing or retreading of past productions but a fresh take that approached the work with a more realistic edge than the original melodramatic approach: Even before the first note of the Overture the cast milled about onstage going about the daily drudgery of their lives in the dirty east end of London, efficiently setting up the environment before the show had started proper - these were hard times and people were suffering.
It is difficult to single out any one cast member but it is quite appropriate to say that Imelda Staunton as 'Mrs. Lovett' and Michael Ball as the title character were revelations. Staunton, especially, clearly played the role in a way not seen before - here was a person truly as vile and warped as Todd himself.
Lucy May Barker's voice was glorious as 'Lucy' and hers was no dumb blonde of a role. Likewise James McConville's 'Toby' was no mere idiot, rather he was played as a naive boy with learning difficulties. I found his 'Not While I'm Around' truly heartbreaking.
The set was ingenious, industrious and, at times played subtle homage to the original Hal Prince staging. The lighting perfectly complimented this with atmospheric use of light and shade.
The sound design was divine with voices layered in a way I've never heard before - with some voices more 'present' than others at times, the sense was one of aural depth, the likes of which complimented Sondheim's perfect score tremendously.
I only wish the run had been extended and that the production had been filmed. It truly was perfect in every way and I lament the fact that the cast recording was only a highlights album (and one full of strange choices - 'Pirelli's' numbers are excluded as is 'Green Finch and Linnet Bird').
I shall treasure the memory, however.
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