Nah. I sympathize with him. He wants to do the right thing but he has a struggle between the man he wants to be and his natural desires. It's something all humans can relate to- mastering our temptations so that they don't master us. It's a pitiful sight. He's more of an anti-hero, but not a complete one. Yet he also isn't a complete villain either. I don't hate him. I pity him and his weaknesses that affect everyone around him.
@@asiyaheibhlin7297most people with a sex drive don’t rape others, including young girls they raised as their own. If you struggle with that, you need to be on a list
@@totalhufflepuff203 Actually sexual abuse between step-parents and their step-children is statistically common because the parent-child bond is weak or non-existant. It's even more true if the child is older when the relationship is established. I am not talking about having a sex drive. I am talking about have desires- those two shouldn't be conflated.
Tbh I actually have a theory that Javert is a closeted gay guy and he is obsessively attracted to Jean Valjean but sees it as wrong so blames Valjean for it and makes it his mission to punish him, so Javert becomes like Frollo and Stars is his version of Hellfire.
@@datroy3647 I'm pretty sure the full line "You'll deliver me, Johanna, from this hot, red, devil, with your soft, white, cool, virgin, palms" is supposed to imply, if anything, that he wants her to give him a handjob. I had to, sorry not sorry.
@@michaelwilliamybarra2409 Also him screaming god and holding his crotch is him jizzing in his pants. There's a reason this song's only on the album it got canned i think 2 previews in and to compensate Ed Lyndeck for having his only real big solo piece cut. I mean people were running out of their seats just from the full frontal throat slitting; Sondheim was really pushing it with Sweeney and this was written when broadway was still pretty snoot and pearl clutchery great stuff.
@@jjaniero In the show's libretto(and in the original Broadway production, before this song was cut in previews), it specifies that he's sings this while peering at Johanna in her room through the door's keyhole, while she's sowing(or reading, etc.) while not noticing him. Here's how this would play out with the original set, in this replica production done by the New York Opera in 2004: ruclips.net/video/gRwQNqwzui0/видео.html
@@michaelwilliamybarra2409The film even had a nod to this, where Turpin looks at Johanna through the keyhole. (As well as singing a few bars of the song in his death scene)
Philip did the best version of this. He gave it major energy. So many performers keep their eyes on the book or turn sideways from the audience or pull back at the orgasm. One guy literally sounded like he was coughing up a hairball. So good job, Philip Quast!
Just to give a perspective, this song was cut from many versions of the play, including the original production from 1979 (The Cast Recording was recorded before the opening night) for being too disturbing and intense, something that royaly pissed of Sondheim. The earliest performance of this song I know of is the concert from 2002.
Mateus Cristian's Channel - I think they should have kept the song, and maybe dialed back the intensity. It’s entirely possible to drop the most disturbing elements without losing the song itself- and the valuable insight it gives into Turpin’s psychological character.
@@dmenor11ification It was also in the 1994 London revival, pesented by this BBC Radio performance: ruclips.net/video/QIM4Thj4zsE/видео.html ruclips.net/video/ZCsxcDE3QWY/видео.html
@@StoryMingI think if they removed the flagellation, they would have toned it down sufficiently. The lyrics are quite beautiful. It's the screams and the lashing that freak people out.
@@dmenor11ification I have the Angela Lansbury Sweeney and it is in that one...a bit shocking when not knowing what is coming but nonetheless powerful.
@@michaelwilliamybarra2409 maybe Disney can approach Quast one last time and ask him to sing one last time for the live action, since he has the perfect voice and background for Frollo. He starred as the antagonist in another play inspired by Victor Hugo and now maybe he can play in this one.
Hope it went well! How vulnerable you must make yourself as an actor in order to do this, knowing that this part serves the rest of the characters and story so well.
You are so lucky! I am a performer and this role has been on my wish list for a long time, so many actors I admire have done it! Call me a diva but I might not care to do the role if this song were cut (though I am afraid of it).
@@kennethwayne6857 This is my dream role also. I am not a professional, but I used to do a lot of musicals. I was always cast as the nice decent guy. Whenever I told my friends that this was my dream part, they always stare at me.
I also love how incredibly different Turpin and Javert are, but Phillip Quast portrays both states of mental distress and internal conflict so darn well. He is amazing.
Is it bad to say hellfire was less disturbing than this and I actually enjoy listing and sing it? Now that I think about it imma cleanse myself with hellfire right now.
these perverted lyrics have in contrast some of the most sublime music of the entire score - mr quast is wonderful but i don't know if anyone will ever surpass edmund lyndeck the original judge turpin on bway - the scene with him & johanna was done slowly, subtly, menacingly, and it was horrifying
It's an incredible acting song, but I'm not sure what it actually does teach us about Turpin? That he's an absolute slimeball who represents the "vermin of the world inhabit it" line that Sweeney sings? I'm genuinely curious because I have never understood what this song lends to the plot. I mean, it doesn't show me that the character has remorse. He seems to basically have an orgasm partway through. (Gross, but it makes sense with the character.) I guess the only way I could see that it gives a deeper meaning is in regard to the contrast and parallel between Sweeney Todd and the Judge. I guess having the Judge essentially want to consume the person who is essentially his daughter in a sexual way is a way of symbolically signaling that his appetite for his depraved sexuality is just as bad as the murders that Sweeney commits. Or perhaps, Sweeney's descent into darkness begins as a result of the Judge's evildoing. So I guess that would be the other way to read the song, the unlocking of depravity and evil. I'm still not sure what we really learn about the Judge other than that he one evil dude?
@@christophercobb249that he does feel some amount of disgust for his actions, if he didn't, I doubt he'd have adopted Johanna after driving her mother insane and be whipping himself over lusting after his adopted daughter.
I had no idea Phillip Quast did a version of Judge Turpin! That's incredible! I absolutely loved his Javert in the 10th Anniversary version of Les Miserables. Interestingly enough, I'm noticing that Judge Turpin's role in this scene is very much a reverse-Jean Valjean. In Les Mis, we see Cosette like Johanna begin to enter adulthood and become attached to an equally doting young man outside, and as in Sweeney Todd, her carer is perturbed by this and fears losing her. Only unlike Valjean, Turpin's fear is driven by a lusting jealousy, and also unlike Valjean he does not resist his fear adequately, and instead succumbs to it completely. And as if to make the comparison even more interesting, his story arc is also a complete parallel to another one of Hugo's works, Hunchback of Notre Dame, in Frollo's self-loathing frenzy upon pondering his lust for Esmerelda. I'm not a hundred percent sure of the chronology, I think Victor Hugo wrote Hunchback in like 1830s, and then Sweeney was 1840s, and Les Mis at 60s. I wonder if they had any influence on each other or if they just both were drawing from the same kind of cultural problems as each other. Regardless, they're all so incredible and they all have such great musicals inspired by them.
Victor Hugo did not write Sweeney Todd. An unknown author who is either James Malcolm Rymee and/or Thomas Peckett Prest. It was written in the United Kingdom in 1850
I'm not sure where I can see what your saying, but I do agree that this concert as a whole looks weird from a set standpoint. I mean, they replaced the factory whistle with Sweeney pressing a air horn?!? I don't know what it's supposed to be theatrically, but it almost looks like he's begging someone to notice his murders already, rather than concerned in keeping them a secret. But that's what I thought anyway. :P
The original production came out before Disney's Hunchback, right? Ever wonder if they took a bit of inspiration from our lustful judge and his weird song about the object of his desire with heavy religious overtones for their own?
Five years too late, but I just wanted to add that the story of a prominent authority figure (usually a judge) trying to take advantage of a young woman, and debating the sanctity of their soul/trying to justify their actions, is a very old tradition in storytelling that is seen in literature going centuries and centuries back. Most notably, I think of Angelo from Measure for Measure. I just think it's interesting how certain stories are found in so many different genres, mediums, and literary eras.
Would anybody be so kind to tell me if there is any way I can watch more of Philip Quast playing Judge Turpin? I'd certainly love to listen to him singing "Pretty Women".
This song is deleted in most productions. I don’t think it’s even in the Hearn/Lansbury video recording. My professor explained a scene in the movie where Alan Rickman looks at Johanna through a hole in her door basically conveys the feeling of the song.
This is one of Sondheim's most brilliant character songs, exposing the tortured and evil soul of the deepest villain in a show the protagonist of which is a serial killer. Turpin has been consumed by guilt over his rape of Lucy, his lust for her having led to his exile of Benjamin Barker (who becomes Sweeney) to Botany Bay. But this time around, in his own twisted mind, he's going to do it right. No more rape at a costume ball, he's going to marry the object of his desire. I get very angry at directors who cut this number; doing so is like cutting Lonely Room from Oklahoma, denying the audience an understanding the psychology of the villain.
@@armoniajoachim4128 And????? A lot of actors played the Phantom well in their 60s. Considering Philip's range is absolutely incredible. I think he would be a perfect fit for the role. VERY young 61 :)
@@armoniajoachim4128 Actually, Robert Guillaume, who took over for Crawford in LA was 63, and Flemming Enevold, the original Danish Phantom, recently reprised the role at the Copenhagen Revival at age 59. I think Bryn can also do the role. That is, if they tranpose part of the score for him
Actually, this piece was a commonly cut song from this show starting from the original broadway production(though it is on the cast recording) since the director, Hal Prince, deemed it too disturbing for audiences at the time (Which explains why it's not in the professional live recording with George Hearn and Angela Lansbury). Now though, since audiences are now able to sit through a show with Sesame Street like muppets having sex(Avenue Q. of course!), another about staging "Springtime for Hitler"(The Producers), a hiphop retelling of one of our founding fathers, that successfully brings out the F bomb and re-censors it for comedic effect (Hamilton), and another in which two characters are hinted to being in a incestuous relationship(Natasha, Pierre, and The Great Comet of 1812), I think it's safe to say audiences can handle an old pervy judge, fixated and literally beating himself over his 16 year old ward, ultimately planning to marry her so she can give him a handjob. X'''''''''''''D
Ehhhhh... This is still more disturbing than those examples, I'd say. To be honest, it's not even the perving or flagellating that's the most disturbing thing, it's that there's no way of doing this scene without essentially forcing the audience to watch and listen to...shall we say a man reaching a pretty intense climax in the song. Sondheim even admitted that really the only reason for the song's existence was the fact that he wanted to be the first to portray that happening on a Broadway stage. It's still one of only two optional scenes in the show and relatively rarely gets put back in (the other I think being the second half of the contest and that NEVER gets performed).
If anyone can find the sheet music/instrumental/karoake track to this song PLEEEEAAASE let me know where I can get it. I love this song and I want to perform it for thespian districts next year. Plz plz plz. :(
I think the interrupting parts of him praying is more of a genius portrayal of how stuck he is between his Christian morality and his sexual temptations. Johanna reminds him of her mother. I think it’s also an insight into how he has aged with the guilt of raping Johanna’s mother. He knows it’s a sin, but he also has the desire to repeat the same sin all over again. It’s melody is dark and creepy because of course, Turpin is both of those things. The dainty string music towards the end contrasts the whole piece as a way of displaying how he sees women. He loves the dainty and beautiful women, much like the little tune. Johanna is a gorgeous young woman, she’s in many ways the symbol of perfection for women of this time period.
![Eminem - Somebody Save Me (feat. Jelly Roll) [Official Music Video]](http://i.ytimg.com/vi/Vwa0HenQMi4/mqdefault.jpg)
I love the awkward clap after his performance. "Do we clap for this?"
Yes ! Exactly - it’s brilliant
I mean to be fair, the clip cut off before more people started clapping
"Ok, he was good but...the song..."
"I feel her, I see her, the sun caught in her yellow hair is blazing in me out of all control!!!!"
*slowly claps*
Yessssssssss! So true. You know your Frollo.
I'm glad I'm not the only one who thinks of "Hellfire" during this song.
You know the red cloaked spirits in the hell fire song? They were the backup chorus singing “Mea Culpa”
Maybe this was the inspiration?
This is why happens when the law is not mocked.
Rose White but he is the law...
He'll spit her pity right back in her face...
Hysterical!! Fantastic cross reference! 🎭😜😎👏
Shoutout to judge Turpin for being the easiest character to hate ever
Beadle Bamford: Hold my Ding dong!
Nah. I sympathize with him. He wants to do the right thing but he has a struggle between the man he wants to be and his natural desires.
It's something all humans can relate to- mastering our temptations so that they don't master us.
It's a pitiful sight.
He's more of an anti-hero, but not a complete one. Yet he also isn't a complete villain either.
I don't hate him. I pity him and his weaknesses that affect everyone around him.
Played by the easiest man to love ever.
@@asiyaheibhlin7297most people with a sex drive don’t rape others, including young girls they raised as their own. If you struggle with that, you need to be on a list
@@totalhufflepuff203
Actually sexual abuse between step-parents and their step-children is statistically common because the parent-child bond is weak or non-existant. It's even more true if the child is older when the relationship is established.
I am not talking about having a sex drive. I am talking about have desires- those two shouldn't be conflated.
It appears Javert has been promoted to Judge lol
Chasing after Valjean for twenty years messed him up pretty bad :)
Javert has become Frollo
Tbh I actually have a theory that Javert is a closeted gay guy and he is obsessively attracted to Jean Valjean but sees it as wrong so blames Valjean for it and makes it his mission to punish him, so Javert becomes like Frollo and Stars is his version of Hellfire.
@@alexisgrey3633 ironically both villains were created by the same author
@@alexisgrey3633 that absolutely makes sense.
Quast is my drama teacher this year. I can't even.
That's amazing! (Also hey fellow Shipway)
WOOHAA
Brittanie Shipway Wow!!!
Lucky! Please tell him my 6 year old loves him as Javert
Any stories about this? :D
Johanna: *exists*
Terpin: YOU TEMPT ME WITH YOUR INNOCENCE
Turpin: Wants to marry her
Johanna: Gross!
Turpin: YOU DARE BETRAY ME!
"Soft, white cool virgin palms"
Well, that's one way to turn a girl off.
Lmao bet he nuts from handshakes
@@datroy3647 I'm pretty sure the full line "You'll deliver me, Johanna, from this hot, red, devil, with your soft, white, cool, virgin, palms" is supposed to imply, if anything, that he wants her to give him a handjob.
I had to, sorry not sorry.
lol!
@@michaelwilliamybarra2409 Also him screaming god and holding his crotch is him jizzing in his pants. There's a reason this song's only on the album it got canned i think 2 previews in and to compensate Ed Lyndeck for having his only real big solo piece cut. I mean people were running out of their seats just from the full frontal throat slitting; Sondheim was really pushing it with Sweeney and this was written when broadway was still pretty snoot and pearl clutchery great stuff.
Hellfire and this have the same energy
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Exactly what I was thinking
Can I just say how amazing it is that the actress playing Johanna is able to listen to all this and not acknowledge it at all?
yes - tho he's doing it in the secrecy of his room, so she has to be unreactive
@@jjaniero In the show's libretto(and in the original Broadway production, before this song was cut in previews), it specifies that he's sings this while peering at Johanna in her room through the door's keyhole, while she's sowing(or reading, etc.) while not noticing him.
Here's how this would play out with the original set, in this replica production done by the New York Opera in 2004:
ruclips.net/video/gRwQNqwzui0/видео.html
@@michaelwilliamybarra2409The film even had a nod to this, where Turpin looks at Johanna through the keyhole. (As well as singing a few bars of the song in his death scene)
"She's not his daughter but c'mon that shit's sick!"
Yessss that reference
Woody Allen sick.
Where’s that quote from?
@@marcelamontenegro4607 "Demon Barber Sweeney Todd," a Hamilton-like song about the Demon Barber.
Philip did the best version of this. He gave it major energy. So many performers keep their eyes on the book or turn sideways from the audience or pull back at the orgasm. One guy literally sounded like he was coughing up a hairball. So good job, Philip Quast!
What is it with Mr. Quast and playing psychologically disturbed villains?
Not that I'm complaining, mind...
Coral Roper because old bad guys are always basses or baritones. Take Caiaphas, Javert, Frollo, Scar, etc.
@@oliverdelica2289 what about Attila the Hun?
@@user-uv1qv5vz7k uhh I'm not familiar sorry
@@oliverdelica2289 okay then. Btw, do you know about Rigoletto?
@@oliverdelica2289 I meant the opera by Verdi.
Oh my God.
I never knew Quast did this...
I'm amazed.
Now if we can just get him to do Sweeney... :p
This song is like Hellfire's older brother
I find this way more disturbing than watching Sweeney Todd (J.Depp) cut throats.
Both the music and the flagellation are Dementor- level creepy.
Just to give a perspective, this song was cut from many versions of the play, including the original production from 1979 (The Cast Recording was recorded before the opening night) for being too disturbing and intense, something that royaly pissed of Sondheim. The earliest performance of this song I know of is the concert from 2002.
Mateus Cristian's Channel
- I think they should have kept the song, and maybe dialed back the intensity. It’s entirely possible to drop the most disturbing elements without losing the song itself- and the valuable insight it gives into Turpin’s psychological character.
@@dmenor11ification It was also in the 1994 London revival, pesented by this BBC Radio performance:
ruclips.net/video/QIM4Thj4zsE/видео.html
ruclips.net/video/ZCsxcDE3QWY/видео.html
@@StoryMingI think if they removed the flagellation, they would have toned it down sufficiently. The lyrics are quite beautiful. It's the screams and the lashing that freak people out.
@@dmenor11ification I have the Angela Lansbury Sweeney and it is in that one...a bit shocking when not knowing what is coming but nonetheless powerful.
Philip needs to play frollo in the up coming live action of hunchback of Notre dame
That would be NICE.
Too bad he's now retired from singing, after playing Ben in the 2017 London Revival of Follies. :(
@@michaelwilliamybarra2409 oh he's already retired??? Awwww.
@@michaelwilliamybarra2409 maybe Disney can approach Quast one last time and ask him to sing one last time for the live action, since he has the perfect voice and background for Frollo.
He starred as the antagonist in another play inspired by Victor Hugo and now maybe he can play in this one.
@@TheKnowledgeMan101 I'd love to see Patrick Page do it. Still a fan of Phillip though.
Yes. Just yes. The fact that you mentioned one of my all time favourite films warms my heart. :D
"I am the law and the law is not mocked!"
"You mock me, Johanna!"
There's nothing like a good show with Inspector Javert acting like Archdeacon Claude Frollo.
This is hellfire.Literally.
Only this came first
I'm about to play this role and this is THE hardest thing I've ever had to do as an actor but my God this is a masterclass!
Hope it went well! How vulnerable you must make yourself as an actor in order to do this, knowing that this part serves the rest of the characters and story so well.
You are so lucky! I am a performer and this role has been on my wish list for a long time, so many actors I admire have done it! Call me a diva but I might not care to do the role if this song were cut (though I am afraid of it).
This is my dream role
@@kennethwayne6857 This is my dream role also. I am not a professional, but I used to do a lot of musicals. I was always cast as the nice decent guy. Whenever I told my friends that this was my dream part, they always stare at me.
...sadly the show got pulled. Thanks Corona.
I also love how incredibly different Turpin and Javert are, but Phillip Quast portrays both states of mental distress and internal conflict so darn well. He is amazing.
Hellfire, anyone?
Yess
Oh, God I'd love to see him sin gthat !
I'd pay money to listen to him singing that song!!!
Irun Mon why just let him sing the song when you can have him play as Frollo?
Is it bad to say hellfire was less disturbing than this and I actually enjoy listing and sing it? Now that I think about it imma cleanse myself with hellfire right now.
would love to see quast as frollo in hunchback of Notre Dame
these perverted lyrics have in contrast some of the most sublime music of the entire score - mr quast is wonderful but i don't know if anyone will ever surpass edmund lyndeck the original judge turpin on bway - the scene with him & johanna was done slowly, subtly, menacingly, and it was horrifying
You're very right. Mr. Lyndeck lived to a good old age, may he rest in peace.
When Javert becames Judge Turpin and sings like Frollo
IVE ALWAYS ADORED PHILLIP AND NOW I FIND OUT HE SINGS THIS SONG THAT U LOVE AND IM AMAZED!!!!!! 💖💖💖💖💖
Song is a banger and its a shame its not in many productions as it really gives turpin more depth
It's an incredible acting song, but I'm not sure what it actually does teach us about Turpin? That he's an absolute slimeball who represents the "vermin of the world inhabit it" line that Sweeney sings? I'm genuinely curious because I have never understood what this song lends to the plot. I mean, it doesn't show me that the character has remorse. He seems to basically have an orgasm partway through. (Gross, but it makes sense with the character.) I guess the only way I could see that it gives a deeper meaning is in regard to the contrast and parallel between Sweeney Todd and the Judge. I guess having the Judge essentially want to consume the person who is essentially his daughter in a sexual way is a way of symbolically signaling that his appetite for his depraved sexuality is just as bad as the murders that Sweeney commits. Or perhaps, Sweeney's descent into darkness begins as a result of the Judge's evildoing. So I guess that would be the other way to read the song, the unlocking of depravity and evil. I'm still not sure what we really learn about the Judge other than that he one evil dude?
@@christophercobb249that he does feel some amount of disgust for his actions, if he didn't, I doubt he'd have adopted Johanna after driving her mother insane and be whipping himself over lusting after his adopted daughter.
2:30.... did what I think just happen?
What did you think happen?
If it was *that*👀 probably
I haven’t finished watching. Thanks for giving me a warning timestamp. Oh boy.
O_o
I would love to see a production of this show with Michael Ball as Sweeney, and Philip Quast as Turpin.
There's some videos on here of a production with Michael Ball as Sweeney and Imelda Staunton as his neighbour
Lea Salonga as Mrs Lovett. Reunite Les Mis 10th anniversary actors in Sweeney Todd
I just realized what he meant by "down down down". Also the song alone is disturbing but to have it acted out is......
WH-
That post nut clarity
I had no idea Phillip Quast did a version of Judge Turpin! That's incredible! I absolutely loved his Javert in the 10th Anniversary version of Les Miserables.
Interestingly enough, I'm noticing that Judge Turpin's role in this scene is very much a reverse-Jean Valjean. In Les Mis, we see Cosette like Johanna begin to enter adulthood and become attached to an equally doting young man outside, and as in Sweeney Todd, her carer is perturbed by this and fears losing her. Only unlike Valjean, Turpin's fear is driven by a lusting jealousy, and also unlike Valjean he does not resist his fear adequately, and instead succumbs to it completely. And as if to make the comparison even more interesting, his story arc is also a complete parallel to another one of Hugo's works, Hunchback of Notre Dame, in Frollo's self-loathing frenzy upon pondering his lust for Esmerelda. I'm not a hundred percent sure of the chronology, I think Victor Hugo wrote Hunchback in like 1830s, and then Sweeney was 1840s, and Les Mis at 60s. I wonder if they had any influence on each other or if they just both were drawing from the same kind of cultural problems as each other. Regardless, they're all so incredible and they all have such great musicals inspired by them.
Victor Hugo did not write Sweeney Todd. An unknown author who is either James Malcolm Rymee and/or Thomas Peckett Prest. It was written in the United Kingdom in 1850
Phillip Quast is a fucking genius.
I love this production!
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Phillip is fantastic 💜
The Johanna poster reminds me so much of Lolita.
The novel or the movie?
Controversial opinion: this is the best song about Johanna in the entire musical
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Do the set pieces on the walls--the ones with the various pictures of girls--do they look disturbingly like they're made of LEGOs to anyone else?
I'm not sure where I can see what your saying, but I do agree that this concert as a whole looks weird from a set standpoint. I mean, they replaced the factory whistle with Sweeney pressing a air horn?!? I don't know what it's supposed to be theatrically, but it almost looks like he's begging someone to notice his murders already, rather than concerned in keeping them a secret. But that's what I thought anyway. :P
Michael William Ybarra i don't think that sound when someone is murdered supposed to exist irl. They only exist for storytelling purpose
The original production came out before Disney's Hunchback, right? Ever wonder if they took a bit of inspiration from our lustful judge and his weird song about the object of his desire with heavy religious overtones for their own?
I wouldn't be surprised if they did. Especially because Menken and Schwartz put in a "Mea culpa" for the chorus.
Sweeney Todd was 1979. Hunchback didn't happen till 1996.
@@MadameChristie reread the first line of my post
Five years too late, but I just wanted to add that the story of a prominent authority figure (usually a judge) trying to take advantage of a young woman, and debating the sanctity of their soul/trying to justify their actions, is a very old tradition in storytelling that is seen in literature going centuries and centuries back. Most notably, I think of Angelo from Measure for Measure. I just think it's interesting how certain stories are found in so many different genres, mediums, and literary eras.
Amazing I am breathless
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It has just occurred to me that between Henry VIII and Catherine Howard there was a similar age difference.
Me: Hey isn't this the creepy masturbation song? *clicks*
Me: *Realizing my favorite Javert is singing it* NO! WHAT ARE YOU DOING HERE?!
Would anybody be so kind to tell me if there is any way I can watch more of Philip Quast playing Judge Turpin? I'd certainly love to listen to him singing "Pretty Women".
Noah Huguenin García just search on RUclips for Sweeney Todd, should be one of the first videos :)
Zachary Joachim But it isn't this version with Philip Quast :(
oooh it looks like it went down in the last 2 weeks, I watched it a while ago...weird
Zachary Joachim Ooooh, what a shame... thank you anyways
ruclips.net/video/kyMVSqVD6B8/видео.html
here :)
Love that guy. Thanks!
Thanks for the love and support you have shown so far, it means a lot to me .
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terfelbryn90@gmail.com
@@brynterfel1994 Do you seriously think you're fooling anyone?
Yesterday I wanted to eat more hamburger but also didn't want because I already ate 1 and somehow I started singing this to the meat.
2:33 well, we found Philip’s equivalent to Colm Wilkinson’s Hoghme?
I love you Philip.
hoOme
Woah, Never knew Philip Quast took on Judge Turpin!!! O_O
I wish Philip could play Judge Turpin in the up coming show of Sweeney Todd in June!. Anthony Warlow is playing Sweeney
I am about to play this role, opening July 14th in Nevada City. Hardest thing I ever worked on.
Brilliant , incredible , moving , amazing
I just realized, he should totally have been cast in The Hunchback of Notre Dame, either in the live action movie or the musical.
I'm getting some real Hellfire vibes from this song
Just realized this is Javert from the Les Misérables Dream Cast 10th Anniversary Concert
Maybe if he had spent less time spying on her he wouldn't feel so constantly tempted...And yes, I know I'm being Captain Obvious
Coral Roper maybe if he wasn’t a massive rapist creep
He is literally whipping himself at a girl he’s attracted to, that’s not subtle.
Phillip's "GOD!!" at 2:29 is so genuinely uncomfortable because it actually sounds like he's climaxing-
Best as allways
That's perfect!! Thanks for the upload. But remember to correct the name: it's "Philip Quast". ;)
Waiting him in Follies!!
As nutty & dark as Tim Burton is... I am still stunned he didn't
put this in the play. There are a few other deletions that also
surprised me!
This song is deleted in most productions. I don’t think it’s even in the Hearn/Lansbury video recording. My professor explained a scene in the movie where Alan Rickman looks at Johanna through a hole in her door basically conveys the feeling of the song.
@@Girl-rj3qe Yeah, it's a pacing thing, and probably also drives home that Miss Lovett's the true villain of the show.
He played Javert in Les Miserable.
This is one of Sondheim's most brilliant character songs, exposing the tortured and evil soul of the deepest villain in a show the protagonist of which is a serial killer. Turpin has been consumed by guilt over his rape of Lucy, his lust for her having led to his exile of Benjamin Barker (who becomes Sweeney) to Botany Bay. But this time around, in his own twisted mind, he's going to do it right. No more rape at a costume ball, he's going to marry the object of his desire. I get very angry at directors who cut this number; doing so is like cutting Lonely Room from Oklahoma, denying the audience an understanding the psychology of the villain.
this is so hellfire core
The most disturbing song of the musical. Holy crap.
Philip should play the Phantom in POTO
He's 61 😅
@@armoniajoachim4128 And????? A lot of actors played the Phantom well in their 60s. Considering Philip's range is absolutely incredible. I think he would be a perfect fit for the role. VERY young 61 :)
@@navidnamini1169 wait really? The oldest I can think of is Colm Wilkinson who played it just under 50
@@armoniajoachim4128 Actually, Robert Guillaume, who took over for Crawford in LA was 63, and Flemming Enevold, the original Danish Phantom, recently reprised the role at the Copenhagen Revival at age 59.
I think Bryn can also do the role. That is, if they tranpose part of the score for him
Navid Namini He said in 2017 that Follies would be his last musical.
Oh, être prêtre et aimer une femme
L'aimer, oui, l'aimer, de toutes les fureurs de son âme
Oh, être prêtre et aimer une femme
Il est juge mais oui ya tlm de Frollo Vibes ™
@@armoniajoachim4128 Tellement vrai, il est comme Frollo! Dans la version de Disney Claude Frollo est un juge.
@@paschameleon c'est vrai mais quand ils ont mis le bossu sur la scène ya quelques ans il était un prête 😉
@@armoniajoachim4128 oui
hellfires British older brother
Wait, so it was Alan Rickman who played Judge Turpin in the movie right? Did he sing that song and is there a sound track for that?
They cut it from the film if I'm correct
Too bad...
Actually, this piece was a commonly cut song from this show starting from the original broadway production(though it is on the cast recording) since the director, Hal Prince, deemed it too disturbing for audiences at the time (Which explains why it's not in the professional live recording with George Hearn and Angela Lansbury).
Now though, since audiences are now able to sit through a show with Sesame Street like muppets having sex(Avenue Q. of course!), another about staging "Springtime for Hitler"(The Producers), a hiphop retelling of one of our founding fathers, that successfully brings out the F bomb and re-censors it for comedic effect (Hamilton), and another in which two characters are hinted to being in a incestuous relationship(Natasha, Pierre, and The Great Comet of 1812), I think it's safe to say audiences can handle an old pervy judge, fixated and literally beating himself over his 16 year old ward, ultimately planning to marry her so she can give him a handjob. X'''''''''''''D
Ehhhhh... This is still more disturbing than those examples, I'd say. To be honest, it's not even the perving or flagellating that's the most disturbing thing, it's that there's no way of doing this scene without essentially forcing the audience to watch and listen to...shall we say a man reaching a pretty intense climax in the song. Sondheim even admitted that really the only reason for the song's existence was the fact that he wanted to be the first to portray that happening on a Broadway stage. It's still one of only two optional scenes in the show and relatively rarely gets put back in (the other I think being the second half of the contest and that NEVER gets performed).
it would’ve been hot if he sang that though.
Was this the inspiration for Hellfire?
I was literally thinking this the other day, the character and his actions are so similar
Valjean and Cossette in an alternate universe.
So the Judge is an evil Disney villain? When he turns the light that hits him is green.
If anyone can find the sheet music/instrumental/karoake track to this song PLEEEEAAASE let me know where I can get it. I love this song and I want to perform it for thespian districts next year. Plz plz plz. :(
It's from Sweeney Todd
Frollo is that you?
Does anyone know if there's gonna be a DVD? >
Fuck me this song is creepy! It gets creepier evey time I listen to it!
I was looking forward to hearing this song at the theater I just attended, but I never heard this song! Did they remove it?
It's an optional song, and between the flagellating and the orgasm, I think it's understandable why many might be a little wary of doing it.
WOW talk about camp. How I love this so…it makes Turpin way more interesting. And the absurdity makes the whole rape plot line a bit lighter
Why in God's name wasn't he playing Sweeney??
Ewww!!! He did a really good job singing it, but omg
Ew
this song has no melody. i can't stand hearing dear javert s lovely voice waisted on it.
does he have better songs in this musical?
+naly202 Try "Pretty Women" with Bryn Terfel.
+naly202 But it does have a melody though?
..this song totally has a melody. It's a gorgeous and haunting piece of music
I think the interrupting parts of him praying is more of a genius portrayal of how stuck he is between his Christian morality and his sexual temptations. Johanna reminds him of her mother. I think it’s also an insight into how he has aged with the guilt of raping Johanna’s mother. He knows it’s a sin, but he also has the desire to repeat the same sin all over again. It’s melody is dark and creepy because of course, Turpin is both of those things. The dainty string music towards the end contrasts the whole piece as a way of displaying how he sees women. He loves the dainty and beautiful women, much like the little tune. Johanna is a gorgeous young woman, she’s in many ways the symbol of perfection for women of this time period.
I'd love to hear Quast do a rendition of Hellfire from Hunchback of Notre Dame. I mean it'd basically be the same character.