#376
Posted: 2/26/23 at 5:10pm
I walked past the theatre around 12:30 and there was already a crowd for Groban at the stage door.
Groban & Ashford in SWEENEY TODD On Broadway - Reviews & News Thread — Page 16
#377
Posted: 2/26/23 at 5:24pm
does anyone know what the best seats would be? Orchestra/Mezz and what rows?
#378
Posted: 2/26/23 at 5:25pm
Jordan Catalano said: "Holy crap this is fantastic. Anyone worried Ashford is miscast can rest assured she has found her Mrs. Lovett and it’s just fantastic. Josh sounds incredible and, for a first preview, is an excellent Sweeney so far. "
Thanks for the clarification about Ashford, Jordan! Im getting more and more excited about this! March 11 can’t come any sooner!
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
#379
Posted: 2/26/23 at 5:33pm
ljay889 said: "Quick thoughts.
Groban is amazing. His descent into madness during Epiphany was perfection.
funniest Priest I’ve ever seen.
Ashford is very funny but I’d like some more power in her vocals. She and Groban are a great team, and lots of sexual chemistry.
so far it’s a funnier Sweeney than I’ve seen before. Lots of laughs. Factory whistle is cut as of now, unfortunately.
not sure I liked how choreographed the Ballad was, but we got the full funeral/organ prelude! Orchestra is simply glorious.
Audience near me is a nightmare. Some girl sang along to most of Priest. Beyond annoying."
I do hope they put the factory whistle in. That kind of helps set the tone at the beginning.
Just give the world Love. - S. Wonder
#380
Posted: 2/26/23 at 5:58pm
Jordan Catalano said: "Holy crap this is fantastic. Anyone worried Ashford is miscast can rest assured she has found her Mrs. Lovett and it’s just fantastic. Josh sounds incredible and, for a first preview, is an excellent Sweeney so far. "
Jordan - your first preview enthusiasm is endearing and infectious. Thank you for sharing as always.
#381
Posted: 2/26/23 at 6:10pm
It’s done.
Holy Sh*t!
That is all.
#382
Posted: 2/26/23 at 6:17pm
That was excellent. There is some work to be done. Definite pacing issues as expected for a first preview, and Ashford flubbed several lyrics and lines in act two. The framework is definitely there. My only big criticism, for a show of this nature, it’s basically bloodless. We need more blood!
Sets and lighting were impressive, but lighting could use improvement in certain areas and
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I did not like how Pirelli’s death was done in the dark.
Cast is excellent and yes as of now Fisher is the weak link but I think he will get there. Gaten nailed the ending. Miles was absolutely wonderful. Nicholas Christopher was such a wonderful surprise as Pirelli, wow it’s so good to see a man play this role again.
Also, I know it’s a melodrama, but the unintentional laughing from the audience bothered me. Hopefully there’s less of that as time goes on, I really didn’t enjoy this audience.
I can’t wait to see how this production evolves.
#383
Posted: 2/26/23 at 6:20pm
Jesse St. James said: "does anyone know what the best seats would be? Orchestra/Mezz and what rows?"
A lot of action takes place on a balcony so I would recommend front mezz. I was front orchestra and had good sight lines but I would have preferred mezz.
#384
Posted: 2/26/23 at 6:24pm
Also, for those who care, none of the optional score material was used. I believe it mirrored the 1979 production in full.
#385
Posted: 2/26/23 at 6:25pm
And bring back the whistle!!!!
#386
Posted: 2/26/23 at 6:29pm
ljay889 said: "Also, for those who care, none of the optional score material was used. I believe it mirrored the 1979 production in full."
with or without ‘Parlor Songs’?
Slotted spoons don't hold much soup
#387
Posted: 2/26/23 at 6:32pm
Parlor Songs included the bit where Lovett chimes in and asks how many bells are there.
Not sure at the moment if that’s the optional part or not.
#388
Posted: 2/26/23 at 6:33pm
ljay889 said: "Parlor Songs included the bit where Lovett chimes in and asks how many bells are there.
Not sure at the moment if that’s the optional part or not."
THANK YOU……. thiat makes me incredibly happy
Slotted spoons don't hold much soup
Updated On: 2/26/23 at 06:33 PM
#389
Posted: 2/26/23 at 6:34pm
Is that the optional moment? If so, it’s the only optional score moment used.
Updated On: 2/26/23 at 06:34 PM
#390
Posted: 2/26/23 at 6:40pm
ljay889 said: "Is that the optional moment? If so, it’s the only optional score moment used."
Not sure the exact extent, but most productions have heavily shortened that sequence, even the original. Just glad to hear that my favorite moment from that scene survived!
Slotted spoons don't hold much soup
#391
Posted: 2/26/23 at 6:41pm
Minor quibbles for a first preview and a show in this good shape. Yes, there needs to be more blood. There was blood in act one but none used for the killings (in the chair) in act two and it seemed very pantomime when they were grabbing their throats, especially after we'd seen it previously.
When the body comes down the chute and Tobias pushes it back in - that was very clunky and awkward and elicited laughs from around me.
SIDE NOTE - All the talk about the cast but just wanted to single out Gaten and Ruthie Ann who were absolutely phenomenal.
Yes, to adding the whistle (was that maybe a technical issue? I hope so.) and they do need to work the microphone issue out. And watching act two, I do think Ashford does need to put a little more "power" behind some of her lines/songs but that's something I'm sure she'll work out in the preview process.
Also, the show is very dark yes, but maybe in some scenes it doesn't need to be AS dark as they have it.
Just a damn solid first preview of one of the most anticipated shows in recent memory. I don't know the last time I heard an audience response at the end as LOUD as that, without all the normal screaming people do now. It was very nice to hear (and feel).
#392
Posted: 2/26/23 at 6:50pm
I figured Fisher would be the weak link. Was the word on the set? Bare? I also need to know how the 26-piece orchestra sounded? That's my main reason for wanting to see this.
A Chorus Line revival played its final Broadway performance on August 17, 2008. The tour played its final performance on August 21, 2011. A new non-equity tour started in October 2012 played its final performance on March 23, 2013. Another non-equity tour launched on January 20, 2018. The tour ended its US run in Kansas City and then toured throughout Japan August & September 2018.
#393
Posted: 2/26/23 at 6:50pm
Yes, it’s a small role, but Ruthie could easily be nominated for this. She did so much with the Beggar Woman. The Lullaby would’ve been nice, but she expressed everything even without the brief song.
#394
Posted: 2/26/23 at 6:53pm
Fisher was such a strange choice for this. And with Groban's name they easily could've cast some young man with a great voice fresh out of college to play the role. But, if Anthony is the only weak link: I can live with that. He'll hopefully improve.
How was the young lady playing Johanna?
#395
Posted: 2/26/23 at 7:06pm
I have just got home. While the show is in no way bad, it wasn't quite the spectacle I was hoping for. The show followed the classic Sweeney Todd format in terms of how its done. However, the performances by Annaleigh, Gaten, and Nicholas Christopher were exceptional, truly standing out among the cast. On the other hand, Jordan Fisher's performance felt miscast and lacked the necessary impact for the role. Josh Groban's vocals were impressive, but his acting felt somewhat one-dimensional...I was a HUGE fan of him in Great Comet so im hoping he improves over time.
While I was expecting a more blood-soaked production, it seems there may have been some technical issues with the special effects. The choreography was exceptional, adding to the overall experience. The ending, in particular, was fantastic and was probably my favorite part of the show.
I would rate it an 8 out of 10...I still think Into the Woods is my favorite revival this year.
Updated On: 2/26/23 at 07:06 PM
#396
Posted: 2/26/23 at 7:06pm
Just want to echo some thoughts and amplify some others.
I wasn’t completely sold on the movement-heavy approach until Act 2. I found the staging for the opening pretty underwhelming, save for Groban’s entrance which was absolutely thrilling. “God, That’s Good” was a definite highlight, staging-wise.
Groban played the Sweeney I’ve always wanted to see: an every-man with a gradual descent into madness. I often feel most Sweenies start at a 10 on the madness scale.
Annaleigh was magical. Funny, sexy, and absolutely insane. Her chemistry with Groban and Matarazzo was phenomenal.
Gaten Matarazzo damn-near stole the show. All three seem like locks for Tony noms.
I have to unfortunately agree on Jordan Fisher. His voice sounded so thin and he was doing about 4 different dialects. Maria Bilbao, on the other hand, has such a rich instrument and a strong take on Johanna.
I also co-sign on the points of the factory whistle, the blood, and the literal darkness. Overall, a really strong start. These performances can only get richer and richer from here.
#397
Posted: 2/26/23 at 7:08pm
Interesting about the darkness. You'd think that is one thing that would have already been fixed.
Updated On: 2/26/23 at 07:08 PM
#398
Posted: 2/26/23 at 7:11pm
Just saw the curtain call on Instagram. God I love a first preview curtain call where they haven’t really figured out the curtain call. The awkwardness is my favourite!
#399
Posted: 2/26/23 at 7:12pm
God that's GOOD!
This felt like how I imagine Sondheim would have wanted a big production of Sweeney to play out. I'd always heard how he was encouraged to go along with Hal Prince's vision so that he could get the 26-piece orchestra. As large as the physical production might be, this FEELS like a chamber piece and boy oh boy do they have a strong ensemble to perform it.
It's an ensemble of storytellers who are moving the story along with powerful vocals and incredible movement. The choreographed movement is striking and I fully handed myself over to this troupe of actors by the end of the first ballad.
Josh Groban is a man with a big heart who is looking for an outlet. He's looking for relief. It's genuinely terrifying when he finds that outlet in Epiphany.
Ashford is giving a very different Mrs. Lovett and I really loved it. She was less calculating and more "WTFWTFWTF" with navigating the war path Sweeney is on. It was a great interpretation and I think she's only going to find more laughs as previews go on.
^ I will say I agree with previous posters that her mic needs to be turned up because her vocals are certainly there. Oh! And her Little Priest might just be my new favorite.
Matarrazzo better get a Tony nom for this. Not since Ken Jennings has there been a Toby with as defined a character as this.
Ruthie Ann Miles? I cherish her thoughtful performance in THE KING AND I and once again she has mined the material for golden nuggets and found all of them.
Love, LOVE, LOVE! Cannot wait to go back on the 11th.
#400
Posted: 2/26/23 at 7:14pm
It's awesome to read the thoughts on here that the show is already in great shape. I can only imagine that it's going to get better and better as the weeks go on. I heard from somewhere after the preview was over that someone said that that the set(s) were well designed and interesting but that it "comes to life" during the second act. I wonder what they meant by that,
Between this and how well Parade's first preview went (minus what happened outside the theatre before the show started), it's going to be interesting how the first preview of Camelot stacks up when it begins.
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