An Unremarkable Adaptation of Sweeney Todd

There is nothing I recommend about this album (Source: Amazon.com).

Clearly the 2012 London adaptation of Sweeney Todd needs to be lived to appreciate the genius, because the acclaim and rave reviews it's received definitely hasn't transferred on to this cast recording. I am fairly confident that without the presence of Michael Ball and Imelda Staunton this production would have never received a recording.

While I adore Sweeney Todd (it is by far my favourite musical), I don't care for this recording at all. It's utterly bizarre since it has exactly the same material as the Original Broadway Cast recording highlights – the difference between the two being that the Original Broadway Cast has a better cast, better orchestrations and better mixing. I don't know why this version even exists.

There are no cast members that are particularly noteworthy in their roles. The majority of the principals are vocally dull, boasting a serious flaw or undesirable trait on every character - there's a demasculinised Anthony by Luke Brady, an insufferably whiny Johanna from Lucy May-Barker and innocuous portrayal of Tobias from James McConville. There's no trace of Robert Burt's Pirelli and the portrayals of the main antagonists Judge Turpin and Beadle Bamford, played by John Bowe and Peter Polycarpou respectively, lack the authority and menace that the roles demand. Gillian Kirkpatrick is almost tolerable until she croaks out some egregiously guttural cries on her upper register.

In comparison to previous actors who have filled their roles, both of the leads are lacking in their portrayals. Imelda Staunton is an incredibly versatile actor and I have no doubt her portrayal of Mrs. Lovett on stage in stunning, but despite her colourful delivery of the libretto there is no escaping that this is a music recording and her voice leaves a lot to be desired. As for Michael Ball as Sweeney, it's fine, but nothing special and certainly nowhere near the best. There is a sense of distance in his portrayal since his timbre doesn't seem to be suitable in the role, and he also has this inconsistency of switching between accents mid-sentence. His vibrato is in its ridiculous full-throttle here ('Final Scene' is an utter debacle, with him throwing vibrato on every line: “Youuhhhh knewhhhh myhhhh Lucyyhhhhh livedhhhhhhhhh”). Ultimately every principal pales in comparison to every other recorded performer that preceded them in their respective roles, and I don't particularly care to hear any of them again.

This recording offers nothing in terms of being a remarkable, unique take on Sweeney apart from transforming the vivacious score into something unremarkable. The original Broadway cast recording maintains its pedestal for the best performance of Sweeney with the best cast and most complete score, the 2000 live cast was a celebration and collaboration of Broadway stars and a symphonic orchestra, the 2005 revival recording is a fascinating adaptation of a small ensemble performing both instrumentally and vocally, and the 2007 movie soundtrack acts as the necessary companion to the film with luscious orchestrations. This is just a scaled down version of the original and doesn't offer anything new. The mixing is lifeless but the orchestration is okay, with the exception of this new trend of having woodwinds simultaneously playing the melody. I just want to tear my hair out that this 2012 cast recording exists when the incredible 2011 Théâtre du Châtelet Cast, superior in every aspect (which until very recently, was free to download from the Radio France Musique website), will fade into oblivion.

This whole endeavor was pointless - the only immediate use of this recording could serve as would be a tool to listen to so that when you return to any other Sweeney Todd recording the experience is glorified in comparison. If you were planning on buying this recording, don't. Only approach if you're a fan of Micheal Ball or Imelda Staunton, and possibly if you're an avid Sondheim collector. But I wouldn't even recommend this to devoted fans of Sweeney Todd. As far as I'm concerned, any recording of Sweeney Todd that doesn't contain 'City on Fire' isn't real.

La Boite's 2012 Season Launch

La Boite's 2012 Season Launch was amazing fun, and I am ecstatic about next year's line up. I think I got an offer to attend because of the ambassador campaign back in May when me, Jordan, and a couple of other people were put in some brochures to raise some money for La Boite's ambassador program. Let's just get the negativity out of the way: I'm not keen on any of the fonts being used for the show titles, but hopefully at this point they're just placeholders until artwork/design is finalised

The night started off with a video that attacks your senses making references to the season before a frenzied Helen Howard talking about all the opportunities in life that have passed her by concluding with an introduction to the first mainstage show, As You Like It. It will be directed by David Berthold (so expect some shirtless people) and opens in February. I can't wait for this show - the cast has 10 primary actors playing the major roles and an additional chorus of actors in training from QUT and... the other place. I think I heard the total number being something like 18, which I am really excited for since La Boite's biggest cast this year was 7. Glad to see that Thomas Larkin, Kathryn Marquet and Hayden Spencer are also returning to the box. I hope there are some trees or foliage in this show.

The next show that will be a mainstage is Midsummer, a loose adaptation on A Midsummer Night's Dream with songs (which was my original pick for David to direct). Looks like La Boite picked up that Brisbane audiences are lapping up musical material, because this has sold out theatres in the UK and the US - we're even being treated to the original duo cast. Cora Bissett and Matthew Pigeon, who are the mains, popped up on video and said how delighted they were to be coming to Brisbane. Providing that the music is good, I am too.

In May we'll be experiencing A Hoax which is the play I'm least looking forward to. It apparently revolves around an Indigenous woman who allegedly wrote a best-seller memoir, and has been offered to write a sequel - however, it turns out the original was written by a white social worker on her behalf. Panic ensures. The world turns upside down, panic ensures, babies eat dingos, etc. La Boite bills it as a "vicious satire on the politics of identity, modern celebrity and the peddling of abuse culture". Sounds heavy, but I guess we had to have one of them.

I lost my shit when it was announced that The Harbinger was making a return, but as a mainstage, in August. I remembered when David gingerly told us that they were re-working the whole thing, and it makes total sense since the season was a total sell out. I think this could potentially be the show where I leave La Boite loving everything, providing it has better music and less pirates. Dead Puppet Society absolutely deserve all the attention they're getting and I really hope I'm mesmerised by it this time.

The last mainstage show which plays in September til October is Tender Napalm which will also be directed by David Berthold. It's billed as just another love story which evolves into a fantasy of 'tales of golden shores, snakes, serpents, kings, queens and blood'. I just can't really comprehend the description at all, it's that bizarre. It will probably have shirtless people, but judging by the artwork I guess it'll be visually stunning (I hope).

There are 5 Indie shows this year. The Danger Ensemble are returning with Children of War directed by Stephen Mitchell Wright, which will undoubtedly be a winning combination. I'm thrilled that Benjamin Schostakowski's ensemble Monsters Appear will be playing A Tribute of Sorts, which is a piece inspired by Edward Gorey's delicious macabre work. The others I don't really have any opinions on because I was too happy for everyone else. Looking forward to them though.

After that we partied til the cows went home and then went home with the cows and partied some more. I walked around hugging and kissing everyone who was badass, thanked a number of people, continually shouted at David Morton, and sang many obnoxious Sondheim lyrics at various people.

It was an incredible night and all I can say is that I would rather be an ambassador for La Boite next year because I can't wait. In fact, I can't believe it was just yesterday - it feels like years ago already. The 2012 line-up looks explosive, vibrant and unbelievably exciting. Mixing the contemporary with the traditional, as always David Berthold's choice of theatre has totally repositioned La Boite as Brisbane's most compelling theatre venue - there's so much new, exciting talent and originality coming from these shows. I just can't wait. Not sure how I'll sneak into the launch next year, but I sure hope it'll happen.

I never want to wash this off... wish it was Season Launch every night!