Posted: 2/14/24 at 4:38am
Alan Williams, the London MD, is transferring. Nicole or Jamie Lloyd might have wanted him to, given there´s very specific tempi/MD choices for this production. His conducting was good, but I do wish it had been KB.
Posted: 2/14/24 at 8:29am
everythingtaboo said: "I bought return tickets for next weekreally hoping a lot of the nonsense that Groban and Ashford brought to their roles was their choice, and we'd be done with them with the actors leaving. I guess it really is just the director not trusting the material. I guess I'll have to prepare for the worst."
I saw a clip of Sutton's 'By the Sea' the other day and she was on top of Aaron, upside down and rubbing her bare feet all over his face. So it seems like a lot of the nonsense is still part of the production.
Posted: 2/14/24 at 8:42am
ACL2006 said: "This production being overly choreographed is still dumbfounding. The worst part of this production"
Hard disagree. Best part of the production. That and the lighting design.
Posted: 2/14/24 at 10:44am
Oh that’s a pity. bizarre that they’re transferring everyone over to ny. I heard even Rachel Tucker, Monday norma, is transferring. It’s unnecessary and probably more expensive.
Posted: 2/14/24 at 11:33am
Not to continue making it sunset related but I can relate back to Sweeney - if the Sweeney orchestra sounds quiet the Sunset orchestra in London sounded overwhelmingly loud. Is it just that audiences are used to hearing over-amplified sounds and are disappointed when the full acoustic orchestra isn’t exactly what we expected?
Posted: 2/14/24 at 11:46am
Is it just that audiences are used to hearing over-amplified sounds and are disappointed when the full acoustic orchestra isn’t exactly what we expected?
The same thought crossed my mind just last night. I've heard many fan audio clips of Sweeney and the sound sounds perfectly fine. Rich and well balanced. I think many in the audience have lost the ability to actively "listen". Instead they expect the sound to be poured into their heads like what they experience with AirPods. Just my humble opinion.
Posted: 2/14/24 at 11:54am
binau said: "Not to continue making it sunset related but I can relate back to Sweeney - if the Sweeney orchestra sounds quiet the Sunset orchestra in London sounded overwhelmingly loud. Is it just that audiences are used to hearing over-amplified sounds and are disappointed when the full acoustic orchestra isn’t exactly what we expected?"
When I saw Sweeney right around opening, mid-orchestra about six rows back, it sounded extremely muted to me. After all the hype about the full orchestra, it just felt like a disappointment to not be hit with a wall of sound. When I saw Days of Wine and Roses, for example, I could hear every word and note perfectly. That's a smaller production and a subtler score. Pretty much everything about this production of Sweeney was a miss for me.
Posted: 2/14/24 at 12:44pm
morosco said: "Is it just that audiences are used to hearing over-amplified sounds and are disappointed when the full acoustic orchestra isn’t exactly what we expected?
The same thought crossed my mind just last night. I've heard many fan audio clipsof Sweeney and the sound sounds perfectly fine. Rich and wellbalanced. I think many in the audience have lost theability to actively "listen". Instead they expect the sound to be poured into their heads like whatthey experiencewith AirPods. Just my humble opinion."
So now we're judging sound design by fan audio clips? You've got to be joking.
Posted: 2/14/24 at 1:01pm
I think and assume they meant that if it comes through on an audio well which are notoriously bad for volume and sound quality then it must have been ok in the theatre.
Posted: 2/14/24 at 4:43pm
Saw today's matinee and Sutton Foster should sue the person who released her Sweeney Todd Audio because it is not indicative to the audio in the theater and her performance. She is doing amazing work for her first week and her voice is full.
I would never know this was her first week of performances based on the choices she is making and how lived in the character she is.
Aaron is also doing well and will grow into the role beautifully.
Ruthie Ann Miles is such a star in this part and I'm just in awe of the character she has crafted.
Posted: 2/14/24 at 4:49pm
E.Davis said: "Saw today's matinee and Sutton Foster should sue the person who released her Sweeney Todd Audio because it is not indicative to the audio in the theater and her performance. She is doing amazing work for her first week and her voice is full.
I would never know this was her first week of performances based on the choices she is making and how lived in the character she is.
Aaron is also doing well and will grow into the role beautifully.
Ruthie Ann Miles is such a star in this part and I'm just in awe of the character she has crafted."
I agree. I saw her second performance and I was flabbergasted. Fully realized and her choices were great. And I heard EVERY WORD! Imaging finishing up a full run of shows at NYCC and stepping into this. Just amazing.
Posted: 2/14/24 at 11:19pm
I saw an early preview of this revival where they were charging no less than $200 for most tickets, and they had not yet worked out the sound. I got trashed on here by the usual suspects for my daring to suggest that sound issues should be resolved BEFORE producers charge hundreds of dollars per ticket. Whatever.
Annyway, saw it today with the new cast. Sound issues are totally resolved. At least from my front mezz seat. And for half the price of the original cast. Sutton and Aaron are fantastic. Absolutely wonderful. I‘m not even a major Sutton fan, but I can tell you that if she was originating this role, she would easily get a Tony nomination. Aaron is also great but has room for improvement as he grows into the role. Still, he’s doing a great job. The kid from Heartstopper is fine.
Bottom line is that this is very much improved, and worth a second look for those who may have caught an early preview, like me. There are discount codes all over the place.
Posted: 2/15/24 at 11:55am
Saw the first Sunday matinee these two did. Only Act One as that was the plan from the jump. From what I saw, Sutton is giving a performance worth the return visit and the rush ticket price. I was wary as first of the casting, as echoed by all, but she more than impresses. From what I remember, my biggest issue with the production before was the grand lack of stakes. Although the production overall remains a snooze fest, Sutton imbues it with new life. She would have def made it a more interesting Tony race with Victoria Clark. At times, although it could very well be due to excitement, she was getting larger and longer laughs than before. Sutton seems exactly the performer when told to jump, will respond, "How high?". A real marvel.
Oh and Aarons there.
Posted: 2/15/24 at 12:39pm
aburnedhill said: "Oh and Aarons there."
Haaaaaa!
Posted: 2/15/24 at 1:37pm
Vulture responds to the commentary on Sutton's leaked audios and video with an amusing solution:
A Bad Idea Worth Considering: I Demand to Ride the Sweeney Todd Death Slide
(I'm sure someone will take it seriously, so, yes, it's obviously intended as humor.)
Posted: 2/15/24 at 4:11pm
That Vulture article is really funny.
Posted: 2/15/24 at 4:26pm
At this point they should try and record a couple of clips of Aaron and Sutton to repair some of the damage from these bootlegs. Feels so unfair.
Updated On: 2/15/24 at 04:26 PM
Posted: 2/15/24 at 5:42pm
Will NYT return to review with new stars?
Posted: 2/15/24 at 5:43pm
Unlikely.
Posted: 2/15/24 at 10:45pm
Even when it is Sutton Foster and Aaron Tveit!?
Posted: 2/15/24 at 10:55pm
I really would have thought the show would get reviewed again with those two.
Posted: 2/15/24 at 10:56pm
Yes, that's why I said, "unlikely."
Posted: 2/15/24 at 10:59pm
The NYT and other publications would only re-review if the production invites them to re-review. Strong reviews would certainly help sales; negative would not (even if it's only 50% negative).
There might also be an understanding (contractual or otherwise) with the artists' reps that the press be invited to re-review.
Bernadette in Dolly and Lea Michele in Funny Girl are the most high-profile Broadway replacements that were re-reviewed in recent memory; what others in the past decade have had this distinction?
Posted: 2/15/24 at 11:03pm
Yeah, it would strike me as very odd if the production didn’t invite them back.
Posted: 2/15/24 at 11:07pm
ErmengardeStopSniveling said: "The NYT and other publications would only re-review ifthe productioninvitesthem to re-review. Strong reviews would certainly help sales; negative would not (even if it's only 50% negative).
There might also bean understanding (contractual or otherwise) with the artists' reps that the press be invited to re-review.
Bernadette in Dolly and Lea Michele in Funny Girl are the most high-profile Broadway replacements that were re-reviewed in recent memory; what others in the past decade have had this distinction?"
The last Cabaret revival was re-reviewed when Emma Stone took over for Sally, and Dear Evan Hansen was revisited with Taylor Trensch. Ben Brantley critiqued Kinky Boots with Wayne Brady in late 2015 and The King and I with Hoon Lee that same year.
A number of long-running musicals were given a second look by NYT critics in the summer of 2014: The Phantom of the Opera (with Norm Lewis and Sierra Boggess), Mamma Mia!, Matilda, The Book of Mormon, Wicked, and Pippin.
Updated On: 2/15/24 at 11:07 PM
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