Groban & Ashford in SWEENEY TODD On Broadway - Reviews & News Thread — Page 25

I saw it tonight. Front row mezz. The main and serious issue was the sound. Could not hear any lines easily. 20-something orchestra instruments???? Sounded like quiet recorded music. Maybe the sound is better downstairs, but all of us in the mezz were wondering why we couldn’t hear anything. Hard to critique the acting when the sound so seriously sucks, but the leads are doing what they can.

Updated On: 3/2/23 at 11:56 PM

ErmengardeStopSniveling said: "This Factory Whistle saga feels like Sally's red dress all over again!"

If this "Whistle Saga" becomes as funny as "Sally's Red Dress", then I'm getting my popcorn ready.

maybe because Lunt-Fontanne sucks as a theater?

I understand how iconic the whistle is and I'm surprised they haven't come up with something different with a similar effect. However, as mentioned during the set discussion the original was set in a giant factory. The original production had a giant, real factory whistle.

Is there a reason that a production that has abandoned that concept retain the factory whistle aside from... it was in the original production? I haven't seen this production so I really have no idea if the factory whistle would resonate with the current concept? Might it be that the production needs something equally thrilling to punctuate the murders and it's not delivering or are we just mourning the loss of an icon?

Updated On: 3/2/23 at 10:36 AM

There is definitely some weird sound stuff happening at the Lunt. I was in the orchestra on Tuesday night and thought it sounded largely wonderful (with some mixing issues here and there that need to be resolved). But a friend of mine was sitting in the mezzanine and he said it sounded horrible up there. So weird we had two completely different sound experiences at the same performance.

KJisgroovy said: "I understand how iconic the whistle is and I'm surprised they haven't come up with something different with a similar effect. However, as mentioned during the set discussion the original was set in a giant factory. The original production had a giant, real factory whistle.

Is there a reason that a production that has abandoned that concept retain the factory whistle aside from... it was in the original production? I haven't seen this production so I really have no idea if the factory whistle would resonate with the current concept? Might it be that the production needs something equally thrilling to punctuate the murders and it's not delivering or are we just mourning the loss of an icon?"

The whistle isn’t just a sound effect: as others here have pointed out, it is written into the score and was originally operated by the conductor. I’m having real difficulty imagining “City On Fire” reaching the necessary pitch of tension and excitement without it. I assume their reasoning is more or less as you suggest (no factory, no whistle). But for a production that’s making such a point of using the original full orchestration, I can’t say that cutting perhaps its most distinctive instrument feels like the most confidence-inspiring choice.

Doyle’s revival still used the whistle, and it was set in an asylum, not a factory. It was still effective.

"But for a production that’s making such a point of using the original full orchestration, I can’t say that cutting perhaps its most distinctive instrument feels like the most confidence-inspiring choice."

This is a really interesting point! I guess I didn't think about it as part of the score... that would make it much more essential.

"Doyle’s revival still used the whistle, and it was set in an asylum, not a factory. It was still effective."

I think a loud piercing whistle would be effective in almost any non-lullaby setting! Haha. And I think with the Doyle production... the whistle could very easily be in Toby's head. Or at least that's how I thought of it.

But. I'm convinced by the score argument! It seems especially odd there isn't, like, a replacement.

The streets of 19th century London.
There’s no framing device like a factory or an asylum.

Updated On: 3/2/23 at 12:48 PM

JasonC3 said: "Unless ticket purchases come with a clear disclaimer "During previews it is possible that some patrons may not be able to adequately hear some portions of the performance" I think anyone who spent hundreds of bucks for a seat and experienced exactly that have a right to be upset."



I mean yeah, we complain about it but for those of us who know to possibly expect this, we point it out. I wasn't "upset" with the sound but pointed out it is something that needs to be worked on. I spent over a hundred to sit in the mezzanine but also knew I was attending the second preview and the sound designer probably had not sat upstairs for a performance yet.

I'm thinking more of the theatergoer who doesn't understand what might happen in previews and has paid those premium mezz prices (400 and up).

ErmengardeStopSniveling said: "yyys said: "maybe because Lunt-Fontanne sucks as a theater?"

One could argue that of the big 3 owners, Nederlander Org controls Broadway's worst houses? The Palace, Gershwin, and Minskoff are too vast and the cheap seats are REALLY bad (tho two of those have longtime hit tenants). Same, to a lesser extent, with the Lunt and Simon. The Marquis is acoustically dead and a nightmare to get in and out of. That just leaves the Rodgers (one of Bway's very best houses), and then two fine smaller-mid-sized houses in the Lena Horne and Nederlander."

I think the Palace is a fabulous theatre, that will only improve with the renovation. The Rodgers, is a great house, and the Gershwin and Minksoff theatres are proof of if you can get the right show in the right theatre, its perfect. The Neil Simon was/is a perfect sixed house for moderate musicals. For a recently renovated theatre, the leg room isn't great at the Nederlander.