Sweeney Todd - The Demon Barber of Fleet Street (Broadway) (Snap Case) (1982) Review

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(More customer reviews)I have been watching this 1982 production of "Sweeney Todd: The Demon Barber of Fleet Street" for almost twenty years on videotape, so releasing it on DVD would be greatly appreciated. The cast features three of the original stars of the 1979 Broadway production: Angela Lansbury in her Tony Award winning role as Mrs. Lovett, Edmund Lyndeck as Judge Turpin, and Ken Jennings as Tobias Ragg. Well, you can also add to this list Cris Groenendaal and Betsy Joslyn, who play the young lovers Anthony Hope and Johanna, since they were members of the original company. Len Cariou had been replaced in the title role by George Hearn, who was still two years away from winning the Tony Award for his performance in "La Cage aux Folles." On Broadway Hearn played opposite Dorothy Louden before teaming up with Lansbury for the show's touring company and eventually this Showtime production of the musical.
Stephen Sondheim has said that if people insist on putting "Sweeney Todd" into a category it would be black comic operetta, which is as good a way as any of defining its uniqueness. If you are going to have a barber who slits the throats of his customer team up with a woman who bakes the corpses into meat pies, then black comedy would be the way to go. But what makes "Sweeney Todd" so marvelous is that it mixes the dark comedy with chilling horror. For the most part the comedy is carried by Lansbury's Mrs. Lovett, starting with "The Worst Pies in Lond," while Hearn's Todd provides the chills, beginning with the hauntingly beautiful "My Friends," sung to his razors. Of course, it is "A Little Priest" that brings these two elements together, but while it is no doubt the show's signature piece it is not the supreme dramatic moment. That comes right before that glorious end to Act I when Hearn signs "Epiphany," which for me remains the song I would most like to be able to do on Broadway, although I can forget about matching Hearn's tour-de-force performance.
When you consider that the last three songs of Act I are "Pretty Women," "Epiphany," and "A Little Priest," it is difficult to imagine a show having a stronger ending before Intermission. There is a sense in which Act II does not measure up, but that is become the bloody climax to "Sweeney Todd" rests more on action than songs. I can still remember watching it for the first time, in live performance fortunately, and thinking that they were reaching the point where things were going too far and the tragedy was about to become too complete. The only real complaint about this video production is that unlike the original cast album or what you are subjected to in live performance, the steam whistle that accompanies each slash across a victim's throat does not make your nervous system explode.

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Times are hard in 1846 London and one must make do. So Nellie Lovett adds something extra to the meat pies she peddles on Fleet Street. The secret ingredient: freshly murdered victims of her partner in crime, barber Sweeney Todd. Composer/lyricist Stephen Sondheim refashions a macabre tale into a musical masterwork in this dazzling performance of the 1979 Broadway hit originally staged by Harold Prince. In her Tony-winning role (one of eight the show earned, including Best Musical), Angela Lansbury plays Nellie. George Hearn turns his stage role of twisted Sweeney into an Emmy-winning triumph. The score coils around itself in ever-tightening spirals. The lines ripple with black humor and madness. Enter Sweeney's tonsorial parlor. Attend the tale.

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King Lear Review

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(More customer reviews)Now a celebrity, courtesy of Bilbo Baggins (the keepcase to this King Lear DVD bills him as "of the Lord of the Rings"), Ian Holm was a great actor long before he was Bilbo. On this DVD he delivers a Lear on a par with the twentieth century's greatest, including Olivier's. But the excellence of this version results not just from one bravura performance, but from an intelligently conceived approach to the play, seamlessly executed by a competent, superbly chosen cast. Of innovative productions there is no end, but what a rarity, and what a joy, when innovation comes across as deeply authentic, rooted in the text and the humanity of the play, as if the new take had always been there, concealed in the text, waiting for centuries to be discovered. One can argue whether Lear should be presented as a "psychological" drama of broken family relationships, and I have mixed feelings about the approach; but if, as our leading Shakespeare critic maintains, Shakespeare "invented" our understanding of human nature, then surely this approach should be tried. And it works to perfection here. Goneril and Regan, the "bad daughters," evolve into monsters of pure evil, but along the way we see, via some remarkable facial expressions that play particularly well on the small screen, flashes of the agonizing pain and hurt that their overbearing father has inflicted on them. This is true also of Cordelia, the "good" daughter; all these daughters are visibly tormented in the presence of their father, though Cordelia overcomes her past through love and forgiveness. What keeps this from being the greatest Lear on video is that the text is heavily abridged. Those who know the play will have trouble escaping the occasional feeling that they are trapped in a "60 Second Lear" from Tom Stoppard or the Reduced Shakespeare Company. The greatest of Shakespeare's lines remain, but how much greater they are when they emerge from his larger linguistic context. At points the cutting even confuses the plot. One gets no hint from this version that the "bedlam" Edgar is only feigning madness; for awhile you would think he's actually gone bonkers.

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This spectacular film version of the award-winning Royal National Theatre production of King Lear stars the immensely celebrated actor Ian Holm. Critics used every superlative imaginable to acclaim Holm's performance in King Lear when it was first staged. The Sunday Times called his performance, "Timelessly classical, harrowingly modern and unforgettable," and The Evening Standard wrote: "Holm's triumph is indisputable total." The Royal National Theatre production of the Shakespeare classic has now won the award for Best Actor (Ian Holm) and Best Director (Richard Eyre) in the Evening Standard Awards, the London Theatre Critics Award and The Laurence Olivier Awards.Lear, King of Britain, has three daughters: Goneril, Regan and Cordelia. Intending to divide his kingdom among his daughters according to their affection for him, he asks them to say which loves him most. Goneril and Regan profess their extreme affection, and each receives one-third of the kingdom. Cordelia, disgusted with their hollow flattery, says she loves him according to her duty, no more or less. Infuriated with this reply, Lear divides her portion between Goneril and Regan. Eventually the two daughters reveal their true heartlessness and a tragic chain of events are set into motion.

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Deathtrap (1982) Review

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(More customer reviews)When DEATHTRAP was first released, the poster--reproduced on the cover of this DVD--offered a graphic akin to a Rubik's Cube. It is an appropriate image: originally written for the stage by Ira Levin, who authored such memorable works as ROSEMARY'S BABY and THE STEPFORD WIVES, the play was one of Broadway's most famous twisters, and under Sidney Lumet's direction it translates to the screen extremely well.
DEATHTRAP is one of those films that it is very difficult to discuss, for to do so in any detail gives away the very plot for which it is famous. But the opening premise is extremely clever: Sidney Bruhl (Michael Caine) is the famous author of mystery plays, but these days he seems to have lost his touch. After a particularly brutal opening night, an old student named Clifford Anderson (Christopher Reeve) sends him a script for a play he has written. It is called "Deathtrap," and Sidney recognizes it as a surefire hit. Just the sort of hit that would revive his career... indeed, a hit to die for. And when Clifford visits to discuss the play, events suddenly begin to twist in the most unexpected manner possible.
Like Anthony Shaffer's equally twisty SLEUTH, DEATHTRAP is really a story more at home on the stage than the screen--to reach full power it needs the immediacy that a live performance offers. Still, under the expert guidance of director Sidney Lumet, it makes a more-than-respectable showing on the screen. Much of this is due to the cast, which is remarkably fine. Michael Caine gives a truly brilliant performance, Dyan Cannon is funny and endearing as Sidney's relentlessly anxious wife, and Christopher Reeve gives what might be the single finest performance in his regrettably short acting career. If you can't see it in a first-rate theatrical production, this will more than do until one comes along.
Unfortunately, the DVD does not offer the film in its original ratio--it's pan and scan here, and that's a clear strike against the DVD so far as I'm concerned. And sadly, although this is an ideal subject for them, there are no bonuses of any kind. But even so it is DEATHTRAP, and it is DEATHTRAP very expertly done, the perfect movie to curl up with on a dark and stormy night. Keep the lights on!
--GFT (Amazon Reviewer)--

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Ira Levin's cat-and-mouse Broadway suspense smash about a playwright's deadly game of murder gets diabolically comic screen treatment.

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Into the Woods (1991) Review

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(More customer reviews)The DVD of Sondheim's INTO THE WOODS is not that remarkable other than the fact that it's great to have this wonderful television production available in the format. The picture is crisp and the sound is pristine. There are no extras on the disc. I do enjoy the chapters, however. Unlike my video tape version, it's great to be able to skip to a particular song I wish to view.
INTO THE WOODS is such a great show. The first act is hilarious and witty. It very smartly weaves together all those fairy tales so familiar to us all. Then act two makes us look at them through adult eyes. I think Sondheim and Lapine are telling us that in fairy tales as well as "real" life, the simple words "I wish..." are truly the beginning of whatever story each of us is about to tell. They counsel us to be careful of what we wish in life -- our wishes effect everyone.
My favorite song in this production is "The Last Midnight" which is performed by Bernadette Peters as the Witch. It is very macabre and Sondheim reveals so much about the Witch's character through the lyrics. Plus, it gives Ms. Peters an opportunity to belt!
INTO THE WOODS is a hoot! Enjoy it.

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A baker and his wife journey into the woods in search of a cow, a red cape, a pair of golden slippers and some magic beans to lift a curse that has kept them childless. Tony Award winners Bernadette Peters, Joanna Gleason and the rest of the original Broadway cast weave their magic spell over you in Stephen Sondheim's masterpiece, directed by James Lapine, a seamless fusion of fairy tale characters and what happens after "happily ever after. "With oft-recorded songs such as "Children Will Listen" and "No One is Alone," "Into the Woods" is a music lover's delight from start to finish--and will forever cement Stephen Sondheim's unparalleled position as the giant of the American musical theater.

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Stage Beauty Review

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(More customer reviews)Perhaps thought patterns are changing and prejudices against gay characters are indeed abating. At least hearing the audience delight after viewing STAGE BEAUTY makes a case for more mainstream male actors to shed the fear of taking on roles that feature gender and sexuality variations: Russell Crowe, Colin Farrell, Tom Hanks, Matt Damon, Antonio Banderas, Javier Bardem, Rodrigo Santoro, Gael Garcia Bernal, et al have all performed sensitively as gay men despite their macho image - the once small list is now respectably large. And now add Billy Crudup and Ben Chaplin to that ever-growing list. Bravo to that change.
STAGE BEAUTY (in the screenplay version of his own play 'The Compleat Female Stage Beauty' by Jeffrey Hatcher) is set in the mid 17th century with all the frills and foibles of British dandies and ladies visually intact. This is the time when female roles were assumed by male actors (the theater was simply no place for ladies to participate) and we are introduced to Mr. Kynaston (in a brilliant, multifaceted performance by Billy Crudup!) as he portrays Desdemona in Shakespeare's 'Othello'. He is attended by a dresser Maria Hughes (Claire Danes, another superlative acting achievement) who longs to act and steals away after performances in the theater run by actor Betterton (Tom Wilkinson) to a tavern where she assumes the memorized roles Kynaston performs on the royally approved stage.
Kynaston has been raised to portray women on stage (and indeed in life) and responds to men as a woman (his lover is the Duke of Buckingham - Ben Chaplin). King Charles II (a thorough-going hilarious fling for the gifted Rupert Everett) is convinced by his tart du jour to allow women to play women's roles on the stage, thus dethroning Kynaston as the actress of the time, driving him into tawdry masquerades in pubs after a severe beating from thugs beckoned by the bloated Sir Charles Sedley (Richard Griffiths). Maria Hughes thus becomes the first 'compleat female actress' and this transition between Kynaston and Maria results in desperate tutoring lessons before Maria can play Desdemona for the King. For the first time in his life Kynaston must examine his own sexuality and his successful final curtain after playing Othello to Maria's Desdemona gratefully leaves that choice up in the air.
The script is a delight, the actors are all first rate, especially the wholly immersed Crudup and Danes who could well be part of the Royal Shakespeare Company, so fine is their British sound, demeanor, and Shakespeare! The supporting cast is a kaleidoscope of jewel-like performances from Everett, Wilkinson, Edward Fox, Hugh Bonneville among others. The mood is appropriately British - all dark, candlelit stagecraft and foggy marsh vistas - and the music matches the overall picture. Richard Eyre has directed a film that deserves many kudos, but the main glory should shine on his ability to explore the spectrum of gender and sexuality with dignity, intelligence, and tremendous sensitivity. A welcome delight!


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STAGE BEAUTY - DVD Movie

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Rosencrantz & Guildenstern Are Dead (1991) Review

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(More customer reviews)Query: what are the minor characters in Hamlet doing when they are not actively engaged in carrying the plot forward? Answer: floundering around, not entirely clear as to who they are, and absolutely clueless about what is going on. I remember being electrified by the play's genius when I first read it six million years ago, and only stumbled on the film adaptation by chance while channel surfing in San Diego. The film is a gem.Gary Oldman is a treasure as Rosencrantz, a follower if ever there was one, innocently and accidentally discovering the laws of physics then shrugging them off. Rosencrantz is a trifle slow at times, and he doesn't seem to know- or care- whether he is Rosencrantz or Guildenstern. Mostly, he just wants to go home. Tim Roth is brilliant as Guildenstern, who does know who he is but doesn't know what he can do about it. The interactions and wordplay between these two are dazzling. Richard Dreyfuss is perfect as the slightly sinister Player. Dreyfuss tends to chew scenery which is entirely apt for this character. The production values are wonderful and you get a real feel for the ambience- cold Denmark, even in cold castles, where actors saying their lines can see their own breath. If you love drollery and wordplay and fine acting, this is your kind of movie.

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In this cleverly inspired twist on William Shakespeare's Hamlet, two of the outrageous supporting players take center stage for a dazzling game of illusion and reality that delivers one-of-a-kind entertainment! World Class Cast featuring Richard Dreyfuss (Mr. Holland's Opus, Jaws), Tim Roth (Pulp Fiction, Planet of the Apes) and Gary Oldman (Bram Stoker's Dracula, Harry Potter and the Prisoner of Azkaban)

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For Colored Girls Who Have Considered Suicide/When the Rainbow Is Enuf - Alfre Woodard, Lynn Whitfield (Broadway Theatre Archive) (1982) Review

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(More customer reviews)I have been looking for this video for at least 10 years! I gave up a few years ago. I was just doing a random search and I can't believe it's been on Amazon all this time! There are no words to describe this play. The older I get, each poem takes on a new and deeper meaning. I am overjoyed to own a copy of this extraordinary work.

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The history of black women in America: having emigrated on a purely involuntary basis, they became slaves to white America and nurturers to white America's offspring. They were rewarded by being the last Americans given the right to vote. This explosive, vivid "choreopoem" illuminates the story of black women in America as they celebrate in song, poetry and dance their strength, beauty and enormous capacity for love. The seven women comprising the cast, including author Ntozake Shange, share with the viewer their exuberance for life and their ability to begin again, no matter how ridiculous the odds. "A play that should be seen, savored and treasured." --The New York Times. With Alfre Woodard, Ntozake Shange, and Lynn Whitfield.

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