He is replacing 25 and 26 with the Bunny, honey!
der Brucer
Well, a bunny still makes it 25. Funny.
Now, Charlote and I expected a packed house but the largest theatre of the complex at 68th was only about half full for the 1 pm showing, which began late because the projectionist was occupied elsewhere and no one in that stupid complex was aware, when I went out to ask at 1:10 when the film planned on beginning, that there was any problem
I Suppose this is the Spoliler SectionAs to the film, I really loved it: dark, creepy, a bit gruesome, and very bloody. It reminded me a lot of 1960s Hammer Films. I didn't miss the ballad, but I did miss the chorus responding in numbers like "God That's Good" or in the Barber Competition. I didn't notice any off-pitch singing, most likely because the vocals could be patched in and corrected, but I did miss "real" singing from Mrs Lovett. I always liked Ms Bonham Carter and I think she does a lot of wonderful things in the film, but she has a very light, not unpleasant, voice with no "heft" behind it and there's a lot of singing. I thought Depp was wonderful, and I thought Tobias was truly amazing and Burton's addition of him to one number very important in the dynamics of the story.
As to the design, very dark, and it turns md-19th Century London into a hellish pit of ash and pollution where it's always dreary and usually dark. I don't feel that anything was given away at the beginning of the film, since it's only showing in flashback what was being narrated by Sweeney and Mrs Lovett; and in the original production the rape of Lucy was shown as well. After the dreadful Doyle production, it's nice to see the narrative make sense again. I saw that in the credits my friend Kevin Amos was a rehearsal pianist, and I think it's great that Jonathan and Paul Gemignani get such fantastic credit in the opening.
