Lea Salonga 'Backstory' 11/25/2009
Mich
http://showbizandstyle.inquirer.net/entertainment/entertainment/view/20091125-238406/Sweeney-Todd-not-family-friendly-but-sublime
BACKSTORY
Backstory : ‘Sweeney Todd’ not family-friendly but sublime
By Lea Salonga
Philippine Daily Inquirer
Posted date: November 25, 2009
MANILA, Philippines—It was a rainy Saturday night when I headed to
Onstage in Greenbelt 1 to watch “Sweeney Todd,” Repertory Philippines’
newest musical offering—very appropriate weather for this macabre tale
of revenge.
“Sweeney Todd” (title role played by Audie Gemora) is about a barber
named Benjamin Barker, who was wrongfully sent to prison in Australia
by the lecherous and corrupt Judge Turpin (Roger Saldo Chua) who lusts
after Benjamin’s wife, Lucy. The Judge seduces and rapes her. Reeling
from the shame, Lucy poisons herself. Judge Turpin adopts the Barkers’
daughter, Johanna (Lena McKenzie), but as she blossoms into a woman,
he decides to marry her.
Benjamin, renamed Sweeney Todd, comes back to England and plots his
revenge against Turpin and his equally diabolical accomplice, Beadle
Bamford (Robbie Guevara). Benjamin returns to his old barbershop,
above Mrs. Nellie Lovett’s (Menchu Lauchengco-Yulo) meat pie shop. She
helps him reestablish his trade and returns to him his beloved
razors), and he helps her with her meat shop supplies.
This is certainly not family-friendly fare, but it is absolutely
sublime material, one that singers and actors could most certainly
sink their teeth into.
I was 18 when I was gifted with the “Highlights from Sweeney Todd” CD,
and I immediately fell in love with the score, story and lyrics (that
piercing whistle still sends chills up and down my spine). Years
later, I bought the entire cast recording and, around that same time,
watched the movie starring Johnny Depp and Helena Bonham Carter.
That rainy Saturday was the first time I saw this musical live on
stage. The verdict: It was three hours well-spent.
As a whole, the cast gave a very good performance, but there were
standouts—actors and singers whose brilliant characterizations left
indelible imprints on my mind.
Audie Gemora
It had been a few years since I saw Audie as the leading man in a
musical (he had unforgettable turns as Javert in “Les Misérables” and
Billy Bigelow in “Carousel”), but I have to say that this is the best
thus far. The role of Sweeney falls right in his singing sweet spot.
There wasn’t one wrong note he sang, or one wrong move he made. Audie
was mesmerizing and riveting, and if you haven’t fallen in love with
him yet in past productions, you will here.
Menchu Lauchengo-Yulo
I have worked with Menchu off and on for many years, and I enjoy
watching her onstage (even when I happen to be doing a scene with
her). I’ve always been a fan of her insightful interpretations, comic
timing and emotional commitment.
I knew that I would be in for something delicious with her portrayal
of Mrs. Lovett. Menchu’s portrayal of this practical and opportunistic
woman was spot on. She turned what could have been a one-dimensional
caricature into a flesh-and-blood human being with wit and humor.
Also, she truly understood the intricacies of Sondheim’s seemingly
dissonant score—every swat of her hand and hit of her rolling pin
matched what’s going on in the music, and made perfect sense of it
all.
I only wish her microphone could keep up with her (toward the end of
the evening, it caused spikes of unbearable static).
Marvin Ong
It’s always a moment to remember when someone unknown puts on a
performance so brave and daring that it makes you jump out of your
seat. That’s what I experienced watching Marvin. His Tobias was
consistent, and his vocal prowess amazing. This is a character with a
slow and simple mind, and Marvin mined it for all it was worth, all
the way to the end.
I look forward to his future performances. From this very grateful
member of the audience, bravo!
Group perfection
Two groups should be mentioned for their cohesion and precision: the
entire onstage ensemble and FILharmoniKA.
As far as this ensemble goes, it was perfect—a group of strong actors
and singers comprising the “Greek chorus,” our narrators and
storytellers.
The orchestra, conducted by Gerard Salonga, was nothing short of
luscious and full-bodied (despite there being only 13 of them in the
pit at one time). Sondheim had written a demanding score (brilliantly
orchestrated by the masterful Jonathan Tunick), but these players were
up to the challenge, and I must laud them.
Also worthy of mention are Liesl Batucan, almost unrecognizable in her
turn as the schizophrenic and demented Beggar Woman; and Franco
Laurel, with his soaring vocals as the sailor Anthony.
Congratulations to directors Baby Barredo and Michael Williams for
their treatment of this now classic piece of musical theater heaven;
set designer Mio Infante for keeping our eyes on the action, not the
scenery; lighting designer John Batalla for creating an eerie
atmosphere against which the actors could play; and costume designer
Gino Gonzales for those wonderful period-yet-modern creations!
This is a theatrical event not be missed! I would like to see it once
more, and be the first on my feet at the end.
Call 887-0710, or visit http://www.repertory.ph.
©Copyright 2001-2009 INQUIRER.net, An Inquirer Company