Posts Tagged: Sondheim

Review: “Into the Woods”

into-the-woods-red-riding-hood

Since people are already asking me what I thought, here you go:

Cast:

  • Meryl Streep was lackluster.  Her opening rap lacked the big theatricality that number demands (much like the energy-sapped Helena Bonham Carter as Mrs. Lovett.)  “Stay With Me” was better, and “Last Midnight” was actually pretty good.  Who could have done better?  My top choice would be Joanna Gleason, but Donna Murphy would do in a pinch.
  • Anna Kendrick was OK, but a few too many contemporary/AI-style scoops, and not enough real understanding of the lyrics and characterization in her songs.
  • James Corden was very good as the Baker as was Emily Blunt as the Baker’s Wife.  It’s a shame that Rob Marshall staged “It Takes Two” in such a goofy way.
  • The Princes were good!  “Agony” was funny, but could have been SO much funner with better direction.
  • Little Red Riding Hood was OK, but just over the line of being too Aspbergersy.
  • The role of the Wolf was completely wasted on Johnny Depp.  If they really needed him to get the film made, I suppose this how he could do the least harm, but hasn’t he destroyed Sondheim’s music enough?  “Hello Little Girl” is such a Ravelian blues masterpiece, and was a big missed opportunity.  Plus, his costume should have been wolfier.  He basically came off as a child molester, which I know is the point, isn’t art about disguising such things?
  • I’m not going to complain about Christine Baranski being in anything, but I would have preferred a Brit in her role (paging Joanna Lumley!) and in most of the others as well.
  • I could have sworn the giant was Matthew Crawley’s mother from Downton, but it turns out it was that woman from The History Boys.
  • Jack was good.  I thought it was really cute how he couldn’t say his ‘R’s.  Tracey Ullmann was a surprisingly good choice for Jacks’ mother.

Direction:

  • Everyone said that this is really a movie, but I’m not sure that I agree.  I thought the staging of the musical numbers was very theatery and generally weak, with a few exceptions, notably the duet of “No One is Alone” which I found very effective (and filmic).
  • There were way too many tight shots, especially at beginning, and many scenes were blocked in such a way that I couldn’t tell what was going on.
  • I did NOT like the ending, which was rendered too maudlin without the return of the bubbly score.  Yes, I know that it was in the credits, but sorry, that doesn’t count, and it sucked.  And I hated Cinderella’s final “I wish”.

Music

  • The score itself is, of course, a miracle and one of the great artistic masterpieces of all time.  Sondheim is like Beethoven for me, in that the most satisfying way to engage with his music is to read the score; no staging/filming/presentation could ever come close to the genius he put on the page.
  • I had no problem with the lack of the narrator and “No More”.  It’s a great song, but I’m willing to sacrifice it for the movie.
  • The key changes bothered me, especially when they occurred mid-song.
  • The additional music score added for the movie was pretty weak, certainly when compared to the Glory of Sondheim.
  • Did everyone catch that Easter Egg of “The Night Waltzes” from A Little Night Music being played at the ball?
  • Some tempi (especially the Witch’s numbers and “Your Fault”) were too slow.  I think they could have been just a notch faster and we still would have understood the words.
  • The orchestrations sounded true to the original overall, and of course Jonathan Tunick always fits Sondheim like a glove.  But I wonder what his name in the credits really means.  Did he actually do anything for the movie, or did he just hand over his original score sheets and let these people do their stuff?
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At the very least, I think we can be safe in our knowledge of what Daniel Bhattacharya’s contribution amounted to amounted to.

Overall, it was good, but not great, and certainly the best of the Sondheim film adaptations.  There were so many missed opportunities, and plenty of ways that they could have presented the music and lyrics in a way that would have elicited their inherent humor, charm and poignancy to greater effect.  I’d give it a solid B – definitely worth seeing, but do yourself a favor and listen to the Original London Cast recording.

Oh, and p.s. I was crying from start to finish just thinking about how tight the motivic construction of the score is.

Where is this Pirelli?

The Ballad of MTI’s Ass-Hat Arranging Department goes something like this: in January, Anno Domini 2013, I read this very article published by no less venerated an institution than the New York Times, wot made me think, natch, “I should like to program, perform, and conduct one of these Sondheim Suites myself!”

Flash forward to two 1/2 months ago when I opened the box from the publisher and found music proudly bearing the following title:

sweeny

And that was just the beginning.  Wrong and misspelled notes, nonsense articulations, pointless doublings, shoddy orchestration, useless transitions – and all of that illegibly copied.  At every level, this arrangement, by Don Sebesky, was a Hack Job.

What’s a girl to do?  I scrapped the Sebesky arrangement and wrote my own from scratch.  Mine includes “The Ballad of SweenEy Todd”, “My Friends”, “Green Finch & Linnet Bird”, “Ah Miss”, “Joanna”, “A Little Priest” and closes with a reprise of the “Ballad”.  It is superior to MTI’s house arrangement in every conceivable way.  I conducted it in concert yesterday, so to The Man, I say, good luck getting me to cease and or desist.

Who the hell is this Don Sebesky in the first place?  Well, according to this book, he wrote orchestrations for the 1983 revue Peg, Cy Coleman’s The Life, and his own 1989 Prince of Central Park.

I hate to judge a guy by his resume – there are plenty of people out there doing quality work in obscurity.  But really, is this the person to whom we want to entrust an orchestral arrangement of Sweeney fecking Todd??  It’s quite possible that he’s decent at writing for a Broadway pit band, but writing for a regulation-size symphony orchestra is a different beast altogether.

Otto_NicolaiI feel a little like Otto Nicolai who, legend has it, had to single-handedly found the Vienna Philharmonic just to ensure quality performances of Beethoven’s works in Vienna.  Perhaps that’s a ridiculous comparison, and I should just let Sondheim and his music fend for themselves (or at the very least not insult other arrangers and their publishers in catty blog posts) but it’s just, I feel like I’ve got to do SOMETHING, you know?