rabymon10
Posts: 9
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Yes, that's right... there is no 'chorus' as such. However, I'd just like to point out that 'Pirelli's Miracle Elixir' pretty much stands on its own two legs without a chorus, whereas I feel that it's 'God That's Good' that doesn't so much. That number just kinda falls flat, and with the omission of a chorus in the number, it defeats the purpose of even having it there. Nevertheless, it's not really noticable that there is supposed to be a chorus in those numbers, despite the orchestrations for them still being intact; so maybe you can just yell out 'God that's good!!' every now and again when you hear it coming up :P I also have to note that another poster has said that Pirelli was generally the only character with a streak of humour... I don't think that's entirely true at least. If you listen to the lyrics carefully, especially in 'Worst Pies in London', 'A Little Priest', and 'By the Sea', you'd see that Mrs. Lovett has quite the humourous side to her too, but it's true that it seems in the film that it's only the lyrics playing that part, not the actual actors themselves which is a bit dissapointing. In the original staging at least, and to a certain extent the Broadway revival, and other subsequent productions, the main characters to play up the humourous aspects were in fact Mrs. Lovett (she's the MAIN source of humour, in fact), Pirelli (in his constant exaggeration - which you could somewhat see when he rolls his cape, and his play on words during the contest), and Beadle Bamford (musically, as he is a normally played by a countertenor); and to an incredible extent mind you. It is understandable the vision that Tim wanted for this film, and that the humour ever so often embedded in Sweeney Todd may have detracted from that; but I can't help but feel that a lot of character development was lost in translation. With that said, an alarming amount of the material from the show is kept intact, even though the second act felt quite rushed. What was most amazing for me though was Jonathan Tunick's orchestrations. He has worked with Sondheim from day dot, and he made sure he got the orchestrations that he's always dreamed of doing, and boy does he ever impress. The strings alone are just GLORIOUS.
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