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Musical (1979)

Musique: Stephen Sondheim
Paroles: Stephen Sondheim
Livret: Hugh Wheeler

Type de série: Revival
Théâtre: Ambassadors Theatre (Londres - Angleterre)
Durée : 10 ans 3 mois 4 semaines
Nombre :
Première Preview : mardi 12 octobre 2004
Première : jeudi 13 octobre 1994
Dernière : samedi 05 février 2005
Mise en scène : John Doyle
Chorégraphie :
Avec : Paul Hegarty (Sweeney Todd), Karen Mann (Mrs Lovett),
David Ricardo-Pearce (Anthony), Colin Wakefield (Judge Turpin), Rebecca Jenkins (Johanna), Sam Kenyon (Tobias), Stephanie Jacob (Pirelli), Rebecca Jackson (Beggar Woman), Michael Howcroft (Beadle)
Commentaires : With a cast of just nine in modem dress, all doubling as on-stage musicians, with the barber’s chair replaced with a black onstage coffin, with blood being poured from one bucket to another each time a person is killed - this was a very “different” interpretation of Sondheim’s “Sweeney Todd. Originally produced at the Watermill Theatre, Berkshire, this limited run transfer divided the critics into two distinct camps. On the one hand: “superbly inventive”, “spectacular versatility”, “brilliantly expressive symbolic approach”; on the other, “the worst sort of university theatre, didactic, over-stylised ... crashingly obvious”, “cramped and inadequate”, “there are times when small is not beautiful”. In November 2005 John Doyle recreated this production on Broadway and won the Tony Award for Best Director.
Commentaires longs : Reprise de Sweeney Todd (2004-02-Watermill Theatre-Newbury)
Presse : FIONA MOUNTFORD for THE EVENING STANDARD says, "As sharp as ever...The versatility on offer is spectacular.."
PAUL TAYLOR for THE INDEPENDENT says, "Wonderfully fresh and fierce small-scale version."
MICHAEL BILLINGTON for THE GUARDIAN says, "strong on melodramatic horror, low on social resonance."
CHARLES SPENCER for THE DAILY TELEGRAPH says, "Superbly inventive staging."
BENEDICT NIGHTINGALE for THE TIMES says, "Theatrical originality and a successful awakening of the audience’s imaginations."
SARAH HEMMIMG for THE FINANCIAL TIMES says, "Sondheim's musical emerges here as keen as a razor."

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