Auggie27 said: "To my surprise, Groban was in every way successful in Great Comet, taking the character role and bringing his vocal gifts to a tortured man, bewildered by encroaching middle age and circumstances. He not only sang it elegantly, he fully embodied the man. Even the padding worked. Sweeney may prove a good fit, and his underlying vulnerability - a good man destroyed by cruelty - may bring out a new color in this character."
I wouldn’t have described Groban in any other way! Him, plus a full orchestra will blow audiences out of their seats. I can just picture him singing “Epiphany” right now!
The idea is to work and to experiment. Some things will be creatively successful, some things will succeed at the box office, and some things will only - which is the biggest only - teach you things that see the future. And they're probably as valuable as any of your successes. -Harold Prince
musikman said: "I believe it calls for 26-27 musicians. You definitely need that full sound to have the impact the score demands. I did a production once with the 9 pit musician version, and it just doesn’t work. It’s such a massive, overwhelming sound and composition that is almost unparalleled in musical theatre, so I do hope they honor the original orchestrations."
For what it's worth, MTI currently lists the full "standard" orchestration on the licensing page as 23 players, though I don't know how the licensed orchestrations compare to the originals.
Lunt's great for this. And I think if they sprinkle the supporting roles with top tier Broadway talent and / or a "minor" name a la Into The Woods, this will be great.
I'm excited for Groban. He was exceptional as Pierre in Great Comet and truly pulled out a lot of complexities of the character. Having seen multiple Pierres, he was really the one to pull out the anger and frustration in the character. Dave Malloy's Pierre felt a bit like a lost puppy. Groban's Pierre was angry.
I can really see his Sweeny as one who sharpens the darkness of the character, with an undercurrent of thrilling majesty that has you fully onboard with his dark turns just because it'll be so damn beautiful to watch.
Annaleigh Ashford wouldn't have been my choice as Lovett but I don't hate it. It'll be an interesting take on the character for sure.
While I have some deep reservations about Groban, I'm thrilled at the prospect of a big, grand production. Perhaps, if it's still in working order, they can utilize the three-tier stage configuration that Titanic used; but this time, the top is Sweeney's tonsorial parlor, the middle is Mrs. Lovett's, and the stage level being the basement with the oven and body chute. Imagine the final few scenes, playing out in real time and space like that!
fwiw, the person with the Sweeney info did break lea in funny girl to me as soon as beanie was announced to be leaving in June so I would put some trust into their info being legit
Rainah said: "I'm excited for Groban. He was exceptional as Pierre in Great Comet and truly pulled out a lot of complexities of the character…I can really see his Sweeny as one who sharpens the darkness of the character, with an undercurrent of thrilling majesty that has you fully onboard with his dark turns just because it'll be so damn beautiful to watch.”
I dunno. Josh Groban’s casting reminds me of when Gregg Edelman did it in Chicago about a decade ago: he sang it beautifully but couldn’t help but come across as a boyishly handsome nice guy just having a reeeally bad day. He couldn’t genuinely tap into the darkness - it was like someone doing a corny impression of a crazy person. Even Brian Stokes Mitchell had a similar problem if you watch the bootleg clips: he sounds amazing but his acting of the role is borderline cartoonish. I think it’s a hard role to play if you’re a real sweetie in real life, haha.
I agree with your concerns re: Groban but I also agree that with Comet he has shown potential so maybe he can pull it off (someone like Raul would not have this concern, which is why it is so frustrating though I guess he isn’t a ‘name’ like Groban). My fear is Ashford will be equally bland - she might play up the comedy fine with her shtick but ultimately I think her pleasant voice has little personality to add much to the score and it too risks being rather bland. The casting of both reads to me like dream casting from teenage stans of Legally Blonde and Wicked not anyone that actually cares about the art. I hope I’m wrong but this whole thing is so bizarre and unexpected.
"You can't overrate Bernadette Peters. She is such a genius. There's a moment in "Too Many Mornings" and Bernadette doing 'I wore green the last time' - It's a voice that is just already given up - it is so sorrowful. Tragic. You can see from that moment the show is going to be headed into such dark territory and it hinges on this tiny throwaway moment of the voice." - Ben Brantley (2022)
"Bernadette's whole, stunning performance [as Rose in Gypsy] galvanized the actors capable of letting loose with her. Bernadette's Rose did take its rightful place, but too late, and unseen by too many who should have seen it" Arthur Laurents (2009)
"Sondheim's own favorite star performances? [Bernadette] Peters in ''Sunday in the Park,'' Lansbury in ''Sweeney Todd'' and ''obviously, Ethel was thrilling in 'Gypsy.'' Nytimes, 2000
I think a more tender portrayal of Sweeney could work, if it was done with deliberate direction. After all, he WAS a normal innocent man who was driven to his actions through grief. If a director played up a sense of insecurity, of sad desperation, of manic brokenness, I could see it working.
The problem is, everyone has this idea in their heads of who Sweeney is, so actors will play into that archetype even if they aren’t quite right for it. And directors don’t challenge it, because they also have a firm idea of how Sweeney should be played.
Will Kail be the one to break that mold? I’m not sure. I’ve seen 6 shows directed by Kail, and frankly I’ve never been able to nail down any of his stylistic hallmarks. And I’ve never seen him direct a revival. However, one thing I HAVE noticed about his work: it tends to be deeply felt. I think he’s demonstrated a consistent sense of tenderness, and emotional vulnerability. If he carries that into Sweeney, he could be the perfect person to help Groban pull off a more “soft” Sweeney.
But honestly, as long as the technical acting is there, I don’t think I’d mind too much if his temperament doesn’t entirely fit the character.
I have plenty of reservations concerning Groban being able to pull of "Epiphany" 8 times a week. He's a good performer but this role won't be a good fit for him and I pray no vocal damage is done.
I saw Ginger Minj (of Rupaul's Drag Race fame) as Lovett in a retired car garage in Orlando and I think she should be Groban's Lovett. Incredible performance.
Rainah said: "I'm excited for Groban. He was exceptional as Pierre in Great Comet and truly pulled out a lot of complexities of the character. Having seen multiple Pierres, he was really the one to pull out the anger and frustration in the character. Dave Malloy's Pierre felt a bit like a lost puppy. Groban's Pierre was angry.
I can really see his Sweeny as one who sharpens the darkness of the character, with an undercurrent of thrilling majesty that has you fully onboard with his dark turns just because it'll be so damn beautiful to watch.
Annaleigh Ashford wouldn't have been my choice as Lovett but I don't hate it. It'll be an interesting take on the character for sure."
Agree with everything you said about Groban. I just adored him in Natasha, Pierre.
We will see what we get with Ashford as Lovett, but I know she has a strong comic side and will absolutely nail “A Little Priest.” In particular, I look forward to hearing how she delivers, “With or without his privates?”
As others have said, Groban’s performance in Great Comet reassures me that he can be a great Sweeney. Anyway, I’m just happy to hear about the orchestra. Nothing against the last two revivals, but it’s about time we get this show with its original big, grand orchestrations.