| Spoilers: Aaron Tveit and Foster in SWEENEY TODD today | |
| Last Edit: lordofspeech 08:30 pm EST 02/11/24 | |
| Posted by: lordofspeech 08:27 pm EST 02/11/24 | |
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| Stupendous. In ways I hadn’t anticipated. Tveit’s first scene is so still, so reserved. He recalls Hamlet here with that reserve, and, in fact, by never playing the end of the play, he invites us into his very sympathetic journey. Ergo, Epiphany is a shattering turn-around. And his singing (perhaps because of the reported half-step up) is urgent, naked, and vulnerable. It hurts to follow this man’s journey. More tragedy than simple horror story, and to the betterment of the entire piece. Sutton Foster’s work has to be seen. She reminded me of things I’ve heard about Olivier’s work. She goes so far out on a limb with her ‘character’-work that you can’t imagine how she’s going to keep it human. But she does. Her arms, her mouth, her legs, everything about her is so outrageously hungry for love, for filling, for a man. Her late scenes with Toby are rivetting. Her outrageous blocking in “By the Sea” is genius. And her shadowing of Tveit’s blocking as he sings to his knives is thrilling. It is an object lesson in great acting, in pursuing an objective. In being true to the author’s vision. The book holds up marvelously. Such a feeling of inevitability. This production is one for the ages. I was quite shaken. And, believe me, the modern resonances about corruption (the Judge and Beadle are sooo good.) are immediate! I recalled being similarly shaken by the original GREAT WHITE HOPE. I had seen the Lansbury/Cariou original: I did not expect to be so devastated. The understudy for Johanna was on. (Delaney Westfall was dazzlingly skilled as a soprano and thrillingly edgy as an actress!). I could go on, but Urge you to go! |
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