Share your unpopular opinions here!

Agreed
We need a bitter sweet ending

Company is now quite dated. How many mid 30 friends do you know who are married? Can the M word be removed from the text and the word relationship used instead

All the productions I've seen have been set in the original period, so it's no more dated than anything else from the past.

David Bowie was exceptional and extraordinary in his perpetual reinventions.

So it's hardly surprising that many people couldn't keep up with him.

And sometimes artists have a period of brilliance, after which they go "off the boil" and spend the rest of the career being, well, less brilliant. But the hardcore fans are the hardest to persuade that this has happened. It's a bit sad really, up here in Manchester people are finally starting to see through Morrissey's smokescreen. Up until a couple of years ago you'd get lynched for saying a bad word about him. Now he's widelu considered to be a bit of an arse. 

Some really fascinating responses above. I started listening to Sondheim when I was around 15, Sweeney Todd was one of the first musicals I was ever exposed to. I don't know exactly what it was I clung onto at that age but several years on he still stands out as the most intelligent creator of musical theatre of his generation. His lyric books and interviews are utterly fascinating in the ways he thinks about music, musicals and how to make a play.

What's always been clear to me though from the likes of A Little Night Music for example is when you're not into it, when you're not engaging with the plot or the characters or the musical style adopted, his stuff can be just awful. I hate that show. I don't understand how anyone who could ever like it.

But some do.

So when people say they don't like Sweeney, or Sunday, or Company, or Into The Woods, I can't blame them. His work isn't designed to be likeable I don't think. I just happen to really engage with a lot of his productions, in a way that's a lot more enduring than when I engage with (for example) Les Miserables. At the most extreme end for me personally, there are chunks of Sunday in the Park with George that speak to my soul, they've informed me as a person, they mean something really true and raw to me - no other piece of theatre has ever done that. But obviously that's really specific to me, of where I was at in life when I saw it, the way it was done, and what sort of music I like.

So I've got no qualms with anyone saying they hate Sondheim, but for me I think he'll always be my favourite composer.

Andrew puts it really well-I think for Sondheim (and others) there's always an element that does or doesn't 'click' and you could be the biggest fan of one work sometimes but be really indifferent or hate others. Or the whole body of work doesn't click either.

I also agree that it's not always an age thing. I respect a 19 year old's opinion as much as a 60 year olds if they can say 'I don't like x because of y' (with y simply being 'It just doesn't work) but I think it's also important to say opinions can change over time-and that goes if you're 40 or 14. But your opinion at any one time is also valid!

I did wonder this. Did Sheridan do it any of her other shows?

It's not necessarily fake, performing in a show can be an intensely emotional experience. I've often cried at my curtain calls.

I definitely think think it's become part of the "show". And it demeans the show. For gods sake you are actors, you performed, people liked it, smile, bow, curtsey, no sobbing necessary.

I cry when I have to go into work...

Sheridan didn't cry/appear to cry at the Chocolate Factory when I saw it, so perhaps this is a more reccent occurance? and while things like openings/closings/leaving nights (other people's as well as your own) can be emotional, I'm pretty sure and average Tuesday isn't so much.

Darius is definately letting the side down in the crying stakes!