Posted: 2/26/23 at 8:53pm
supersam1026 said: "A big production spoiler below, DO NOT read unless you saw or want to be spoiled on a crucial staging bit.
"
The PERFECT note to go out on.
Posted: 2/26/23 at 8:53pm
To answer a couple of questions I haven't seen responses to:
1. There's no tooth-pulling in the contest scene, it's just "shave a cheek".
2. The Judge did not have the "mea culpa" solo.
Posted: 2/26/23 at 8:53pm
supersam1026 said: "A big production spoiler below, DO NOT read unless you saw or want to be spoiled on a crucial staging bit.
"
I’ve seen the Doyle version and the off Broadway version and the movie and I still don’t think I grasp the story being told, so this ending sounds… odd? What is it suppose to even mean?
Posted: 2/26/23 at 8:59pm
twinklingstar said: "Previews used to be cheaper but audiences showed they were willing to pay more.''
ESPECIALLY first previews. It's bragging rights. Maybe it will keep up but some folks here are acting like we are back in the day of static pricing. If these prices are slowing sales, they will be adjusted. As they always are. But understand, this is not a show that is going to be on TDF: there are not going to be cheap tickets any more than there were for Hamilton. (And no I am not comparing the shows...)
JasonC3 said: "Interesting about the darkness. You'd think that is one thing that would have already been fixed."
I realize this has already been said a number of times in this thread, but you do realize it's a first preview, don't you?"
Posted: 2/26/23 at 9:02pm
Yes, I'm not an idiot, I realize it is a first preview thank you very much,.
But some people here are describing scenes that sounds like they are too dark to adequately be seen. As I noted, that seems (emphasis on the word seems) like something that might have been addressed during tech rehearsals. You generally don't need an audience's reactions to gauge adequate lighting levels.
Updated On: 2/26/23 at 09:02 PM
Posted: 2/26/23 at 9:10pm
How long before Fisher starts missing performances and the cover takes the role full-time?
And what possesses Seller, Kail, Telsey, and Lacamoire - some of the most revered names in theatreland - to agree on the casting of such a proven liability? Did everyone just “hope he’d get there”?
There are so many actual performers out there who can play the damn role, and there’d be better word of mouth about them which might outweigh whatever dollar amount Fisher’s name is bringing in.
As someone said in the Camelot thread - throw a stone down 8th Avenue and you’ll hit a dozen brilliant Anthonys.
Posted: 2/26/23 at 9:10pm
RippedMan said: "supersam1026 said: "A big production spoiler below, DO NOT read unless you saw or want to be spoiled on a crucial staging bit.
"
I’ve seen the Doyle version and the off Broadway version and the movie and I still don’t think I grasp the story being told, so this ending sounds… odd? What is it suppose to even mean?"
So the way it works:
The cast clears out after the final lyric. Sweeney & Lovett are left alone on stage and slowly start walking upstage as the final notes play. As the final note hits, they both drop right into a trap on the middle of the stage. And as they drop, blackout. I personally really loved it!
Posted: 2/26/23 at 9:26pm
I had a great time today, and I thought it was a solid first preview of what I think is a fairly conventional and surprisingly old-fashioned production.
As far as seating is concerned, I was in far left rear mezzanine L 1, which I thought was a great view for $59. It was also really comfortable, with 1/2 of the seat sticking out beyond the row in front of it, so that I basically had both of my legs out of the row. I brought my binoculars, and used them from time to time. Since I was far over on house left, there were fleeting moments in scenes that took place in Johanna's room, which was positioned far house left on the upper platform, where an actor would be out of view for a few seconds, but never annoyingly so. This pic is zoomed in to approximate what my actual view looked like.
As for the orchestra views, I can't comment too much, other than to say that a friend was in row B center, and said she had to crane her neck often and missed action on the raised platform. I'm assuming row A is lottery, since the seats must be highly obstructed. I'm a little surprised that no seat they're selling is marked partial view, though...yet. I imagine that will change at some point, since I can't believe that the far sides of the front orchestra are completely unobstructed, but we shall see. She got some great curtain call pics, though.
Updated On: 2/27/23 at 09:26 PM
Posted: 2/26/23 at 9:35pm
ImAProphet said: "To answer a couple of questions I haven't seen responses to:
1. There's no tooth-pulling in the contest scene, it's just "shave a cheek".
2. The Judge did not have the "mea culpa" solo."
I was gonna say it would be very strange to have the Tooth Pulling scene and not the Judge's Joanna.
Posted: 2/26/23 at 9:39pm
supersam1026 said: "A big production spoiler below, DO NOT read unless you saw or want to be spoiled on a crucial staging bit.
"
still not over this. I want to see the production again JUST for it.
Posted: 2/26/23 at 9:51pm
I would say the Doyle revival was more stylistic and scarier. The buckets of blood were chilling. But it’s impossible to compare that revival to a large full scale revival. I think this revival will grow into something special.
Also, I’m not the best at describing things. Can someone do a spoiler for how the barber chair was delivered? It was a cool visual.
Posted: 2/26/23 at 9:54pm
How do they stage Groban’s entrance in the opening number? That bit can be so cool.
Posted: 2/26/23 at 10:14pm
The Distinctive Baritone said: "How do they stage Groban’s entrance in the opening number? That bit can be so cool."
Groban was pulled by two ensemble members from out of a trap door toward the back of the stage seemingly to appear almost out of nowhere.
Posted: 2/26/23 at 10:29pm
ljay889 said:
"Also, I’m not the best at describing things. Can someone do a spoiler for how the barber chair was delivered? It was a cool visual."
It was transported on stage in a crate by the crane on top of the tower, which swiveled into position before lowering it onto the upper platform, and that was actually the first time the tower served any purpose in the show, other than having the staircase on one side of it.
Updated On: 2/26/23 at 10:29 PM
Posted: 2/26/23 at 11:50pm
How was Mrs Lovett’s death done?
Posted: 2/26/23 at 11:57pm
WesternSky207 said: "How was Mrs Lovett’s death done?"
The traditional way, pushed into the oven. It seemed a little clunky as most of the killings were today. Also, I don’t believe Ashford screamed once pushed into the oven like Lansbury did. I hope she starts vocalizing the moment, as the screams are chilling.
Posted: 2/26/23 at 11:59pm
Can someone shed more light on Maria Bilbao as Johanna? Johanna is my fave! Thank you 
Posted: 2/27/23 at 12:01am
I do like the irony of people calling this a “conventional” production when we have not had a “conventional” production of Sweeney Todd in NYC since the original.
Posted: 2/27/23 at 12:28am
Looks like a non-equity tour of Les Mis...
Posted: 2/27/23 at 12:40am
Considering how much Groban reveres the material, I expected something fairly conventional that rests on the text. That doesn't seem like a knock. Into The Woods was also fairly conventional and it still managed to be emotional and thrilling.
Posted: 2/27/23 at 1:00am
Whew, what an evening. Ever have a perfect day in NYC? I just had one! It was sublime!
Anyways, so I have never connected with this show. I despised the movie and saw a concert version, and I just never loved it. But I knew with the high production value and Tommy directing, I thought that would change for me. I was right. The people who kept predicting this show will be THE one to see this year were correct. The sets, the lighting, the feel of it were all divine. Josh and Annaleigh are incredible and are playing it young, funny, and horny. Well, that last one just Annaleigh 
I underestimated Gaten coming in, I did not think he would sell me, but he ended up being a huge stand out along with Ruthie Miles and John Rapson. Such heavenly voices from all three. More blood is needed all around though!
And then the bad part. This one hurts. Jordan Fisher is so damn cool. He is an incredible dancer, singer, actor of rom-coms, has the best manicures on IG, and he seems like such a lovely Father/Husband/Son/Human. He is also extremely sexy, so I was really excited to see him BRING it as Anthony. Sigh. So, he was incredibly uncomfortable, spacey. awkward, with an all over the place "accent". But at least I figured he would KILL IT vocally. No, that also didn't happen. His singing was tepid, weak, and all around sad. So, that really sucked for me because I think he is so much better than that. Maybe this isn't his role, but since he gets stir crazy, I doubt he will be in the role for very long. Still, big letdown.
This is a must see, you guys. If you can swing it, buy tickets right now! This will be a tough ticket once word gets around of how magical it is and how much the good outweighs the bad.
HOT MERCH TOO! GOT A MUG!!!! 
Posted: 2/27/23 at 1:54am
Kad said: "I do like the irony of people calling this a “conventional” production when we have not had a “conventional” production of Sweeney Todd in NYC since the original."
Not quite true (yes, I'm nitpicking here!) hasn't the Hal Prince production (including, I believe, the Judge's Joanna) been performed by NYCO two or three times in NYC since then? I know he staged it for them after Candide (and before they did the Scott Ellis A Little Night Music they've revived a few times--a pity they didn't have Prince restage his production of that with Aronson's designs, but I digress...)
Checked, looks like they did it twice, last in 2004-- https://www.sondheimguide.com/sweeney.html#NYCO
https://www.sondheimguide.com/sweeney.html#2004NYCO
Updated On: 2/27/23 at 01:54 AM
Posted: 2/27/23 at 2:25am
Ashford got most of the preemptive groaning and yet basically every report I've seen here and on Twitter singles out Ashford, Gaten, and Miles while barely mentioning the man in the title role. Is he that boring? I'd had high hopes.
Posted: 2/27/23 at 2:31am
I saw the 1984 production and remember it was exactly the same as the Broadway production but with more trained voices. I had already seen the original cast twice and this time around was my least favorite.
I looked up the second time NYOC did the show and was surprised Elaine Paige played Mrs. Lovett. Here's a clip of her "Best Pies in London."
(23) The Worst Pies in London [Sweeney Todd, 2004] - Elaine Paige - YouTube
Posted: 2/27/23 at 2:40am
Yeah, I remember looking up reviews of the first NYCO production and the critics seemed to think somehow it lacked some element on Broadway (and others said it played better with a slightly different cast at Houston Grand Opera earlier.)
TOTALLY forgot Elaine Paige was Lovett though I remember there was some excitement online when that happened.
I apologize for this tangent that only I may find of interest--apparently it also ran in 1987, so there were at least 3 short NYCO runs. Reading the NYT review is interesting.
The 1984 one reeks of opera snobbery--Sondheim's score is "sing-songy" (this is not a good thing,) Gemignani's conducting apparently is not sympathetic to singing, etc. NYT 1984
In 1987, the NYT critic seems to think better of the work as a important piece of musical theatre/opera "hybrid." although he does say that the lyrical music is "perhaps" excessively sentimental and objects to songs that interrupt the flow like By the Sea. He also mentions that the Judge's Joanna with its self-flagellation crosses from melodrama and Grand Guignol into silliness but DOES confirm it was done here and in the 1984 production. Which makes me wonder how Hal Prince ultimately staged it, as he said part of the reason it was cut originally was he had trouble figuring the staging out. NYT 1987
And finally a review from 2003--by then the piece is beyond criticism in and of itself. The critic does make a point that Hal Prince's staging remains effective. He also says that, even with surtitles, the performers from the opera world have trouble making the lyrics understood but praises the performers from the musical theatre world--Elaine Paige, Judith Blazer (the Beggar Woman), Walter Charles (Judge Turpin) and Roland Rusinek (the Beadle) (I don't think the earlier NYCO productions drew performers from the musical theatre world.) NYT 2004
Updated On: 2/27/23 at 02:40 AM
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