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Blog Entry 5 of 6 SWEENEY TODD Director's notes

SWEENEY TODD is unquestionably one of the greatest musicals of the last thirty years. It is part of a line of Stephen Sondheim masterworks that range from his efforts as a lyricist in WEST SIDE STORY and GYPSY to his composer/lyricist work in FOLLIES, COMPANY, SUNDAY IN THE PARK WITH GEORGE, and INTO THE WOODS. How can a story about a vengeful barber and pie shop proprietress who concoct a plan to kill people and make meat pies out of them possibly be a great musical? The answer lies not in the subject matter but in the music and lyrics of Stephen Sondheim and SWEENEY TODD’s story of oppression and evil perpetuated upon innocent people. The character of SWEENEY TODD is not inherently evil. He is a man who had a joyful life with a wife and baby stolen from him by a corrupt and lecherous judge. Even when he returns fifteen years later he is still seeking to reclaim that life in some way. It is only through events that transpire that he is turned into the “Demon Barber of Fleet Street.” There is a clear chain of events that lead to the violence. And nearly everyone in the story is a part of it. Their own desires – whether for power, for revenge, for lust, or for success, all lead to the final outcome. I have conceived our production specifically for our 136 seat theatre. I hold the original and revival productions on Broadway in great regard but I believe our choices of setting, staging, and instrumentation make this production unique.

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Rehearsals- we keep pluggin' away!

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Contributed by: MusicalFare Theatre on 12/23/2006

Hi everyone...

Sorry I haven't been more up to speed with the blog, but I have been working feverishly to get everything that I need to get done GET DONE. :) Rehearsal for the show have been going very well. We have been going now for around 2 1/2 weeks, and due to the nature of the show I have had to choreograph and direct 29 numbers- 15 in Act 1, 14 in Act 2. I can only blame one person for this- myself, since I also conceived this show. Trust me, I am not complaining at all. It is so weird to see something that has been in my head for a year now to transform in front of me on my amazing cast.

The way I work is a bit odd, some might think. I come into the process with pre-conceived ideas, but I don't write my choreography down. It allows me to be a bit freer in the process- if something doesn't work or look right on the dancers' bodies, I can change it immediately and not have that "awww... I wanted this instead" moment. To those that I work with it must be frustrating to see me go "uhhh.. uhhhh... OH! OK! Let's do this", but I find it invigorating. I also invite the ideas of the cast in to the process as well. They know their bodies and limitations much more than I do (since they live with them everyday). And, honestly, sometimes their ideas work better than mine. I am known as a backwards dancer- I am stronger on my left side than on my right. It makes me turn the opposite way from everyone else easier and I can do things easier on my left side (kick, directional movement) than 98% of other dancers. So something that comes easy to me may not be as easy to others, and vice versa. I listen to ideas and take them into consideration. It never hurts to try something- Bob Fosse used to take ideas and input from his dancers all the time. Look what he did, right?

To date, the entire show is choreographed (yay!) and I can now work on the characterization. Terrie George, who plays the Woman in the Window, has such an enormous job to do with this character and, I must say, she is going above and beyond the call of duty. I am fortunate to have found someone who is bringing everything to the table for this. Her role is incredibly complex- living in reality, dealing with the death of her husband, escaping her apartment to dance in these beautiful dreams she has with her Familiar Strangers. She has nailed it. With 2 1/2 weeks left of rehearsal, she is a grounding force in this entire production. When you come this show, just watch her sit and, well, watch- it is a master class in character study.

Everyone else is doing such an amazing job as well. But, honestly- we are all very tired. These 4 days off are going to be WONDERFUL. Most of us work 8:30 to 5:30 and are at rehearsal from 6:30 to 11 5 nights a week and then on Saturday and Sunday. 29 numbers in 11 days is a lot as well, but we've done it. I am considering this holiday a little vacation from the day job and the show. It's time to get rejuvenated and refocused for what is to come.

Our set is going to be amazing as well. I keep using that word, "amazing". Because, well- I am amazed. To have everyone on board with my ideas is such a pleasure. Musicalfare is a tremendous place to work and their productions are some of the best in the region. I am very fortunate to have this opportunity.

Alrightee- well, it's 2:42am on Saturday morning. I just finished wrapping Christmas presents and watching "The Devil Wears Prada." Higly recommend it- just for Meryl Streep (evil, yet diginified...) I will keep you posted as to the next phase of the show.

So far, so good. May you all have a Merry Christmas. And do some people watching this weekend- you may learn a thing or two about yourself. :)

All the best-

Michael Walline

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Submitted By: Pam Ward

posted on 1/7/2007 @ 8:52:24 PM

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I just got back from the Daemen Night preview and I have to say that my friends and I thoroughly enjoyed this play. It was intense and entertaining! Good luck with the run and I am praying for those dancers to stay healthy! Bravo!!

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Submitted By: Benjamin Kirst

posted on 12/26/2006 @ 12:51:32 PM

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I also saw "Devil Wears Prada" on DVD this weekend...saw it at the theatre, too, and it definitely holds up well in a second viewing. "Familiar Strangers" sounds great - hope things continue to go well in rehearsal.

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