Groban & Ashford in SWEENEY TODD On Broadway - Reviews & News Thread — Page 31

bear88 said: "herewegoabc said: "Stranger Things takes months to film and has a gigantic cast, so there's no guarantee Gaten will be needed right away in June. There is a possibility you might see him in July.

I saw the show last week from extreme side rear orchestra (last seat of Row X house right). It was honestly a great view. I didn't notice any obstruction, and I felt closer to the stage than I was. The only thing I recall being even slightly 

This is the sort of post I’m happy to see. A positive comment about a seat from the much-derided rear orchestra. Next week, I’m house right, a couple of seats in from the far edge, Row O, after switching from the front row of rear orchestra due to concerns about the various bars (which may have been overstated). So I will be closer to the stage than you were, for better or worse.

Who knows? The critiques on this thread make me feel that I’ll be somewhat fortunate to hear the orchestra or understand some of the performers when I’m not missing the factory whistle or kicking myself for seeing this show in previews. (I didn’t really have a choice. Next week was the only week I could go to New York City.)"

Row X is one of the shortened rows, so I was seat 18 for reference. I think your view will be great! My friends sat in 14 and 16, and the one in 14 said even the tiny part of Joanna's head I couldn't see during the asylum was perfectly visible for her. There is a tower on stage left that moves in and out a few times, but you shouldn't have any problem with seeing anything because of it. 

I also had zero sound issues. The only sound related issue I had was understanding a few of the lines, but that was related to accent issues and not mic or sound issues. Annaleigh's mic seemed fine to me except for a split second when it dropped completely.  The orchestra sounded amazing from my seat. I would sit there again in a heartbeat, especially for the slightly discounted price. 

With the box office help, I opted for rear mezz C center for $157. She reminded me that the railings in this house are high and often obstruct - happened to me at the Belasco and I’m 6’. Sometimes just a couple of rows solve this. Nearest isn’t always better. Row A had not been widely sold for that reason.

 

When we say “heads up!” it’s literal.

Updated On: 3/7/23 at 07:26 PM

I saw the show last Thursday and thoroughly enjoyed, I also didn't think Jordan Fisher was particularly bad ... but I did wonder why they couldn't find someone who could sing the original key. One thing that didn't click for me, that I don't think I've seen anyone else remark upon, was Annaleigh's accent. It was obviously a charismatic and very impressive performance otherwise, but at times it was hard to tell what she was going for. There were moments where I thought she was emulating Angela, others that came out with an almost southern twang, others that sounded kinda like Katharine Hepburn? I know Cockney is pretty specific and difficult to reproduce (personally I know I couldn't), but it did stand out to me in the midst of an otherwise extremely polished performance. Wondering if it was truly just me?

I didn't realize how obstructive the railing was in the mezzanine. If I'm in row A, how much of an inconvenience will this pose?  

It honestly depends on your height. I love front row mezz of all the Broadway theaters. Except this one. It's really obnoxious especially for this expensive show. 

 

 

Updated On: 3/8/23 at 06:52 PM

In the front row of the rear mezzanine, it's more annoying because it's a combination of the rail right in front of you plus the rail along the back of the front mezzanine. 

Saw a rear orchestra resale ticket on the aisle reasonably priced at 7 p.m. tonight and spontaneously decided to catch the show.  Not only did I get to see the stage production, but as I was right across the aisle from Thomas Kail, I also got his performance when shortly before A Little Priest he leapt into the aisle where he remained in a deep crouch position for a minute or more, apparently looking for something very specific on stage. The dude is flexible.

Thoughts on the show.

Whereas the first act was fluid and flew by, the second act was often clunky, tepid, or downright tedious.  I don't remember feeling that in previous productions, so maybe it is just a timing issue, but I was on the verge of being bored more than once.

Groban sings the role superbly and you can hear almost every single lyric with crystal clear diction and projection.  If only that was true for every cast member.  While he is still not as threatening as I like my Sweeneys, he's menacing enough.

Ashford is the comedic master throughout and her singing was generally quite lovely, but her diction was lacking on some lyrics and her mic cut in and out a half-dozen times.  About 90% of the humor comes from her playing Mrs. Lovett and about 10% comes from Ashford milking the audience for bigger laughs.  That does make me wonder what the percentages might be like several months into the run.

I thought everyone else gave solid performances, but nothing that really stood out as meriting specific praise compared to others I've seen play their roles. 

And then there's Fisher.  I didn't find him bad, just passable.  His singing was the most problematic.  I'm not sure if it is the way he shapes words, his breath control, or what, but he was often difficult to understand, a bit hard to hear, or slightly off pitch.  Not good.

I found the.choreographed movement a bonus most of the time, particularly in the large crowd scenes.  The movement when joined by highly effective lighting, that huge orchestra, and everyone singing in unison gave off its own menacing tone that really worked for me. I assume that is what they are going for in those moments.

Sadly, I was surrounded by fans of the show and/or some in the cast and they felt the need to replace the decibel-splitting factory whistle with their own obnoxious yelps and whoops anytime someone on stage did anything remotely funny or interesting.  It constantly pulled me out of the production. 

And of course the moment of Sweeney's arrival as well as his departure with Mrs. Lovett are visually quite impressive.

B+ overall with some A- elements

I'm glad I saw it, but I am not sure I will feel the need to see it again.

Updated On: 3/9/23 at 11:36 PM

Jimmyb1969 may have hit on what I've been thinking about since seeing the show last night.  It just lacks a sense of urgency or forward momentum once Sweeney launches his plan.  The subsequent action just felt rote to me throughout the second act.  Hmm.  Much to contemplate.

I’m fascinated by the surprise that front rows of mezzanines are often problematic. I don’t think I’ve ever sat in the front row of one and not been at least momentarily annoyed by the obstruction of the railing or lip. Even when it’s not literally obstructing the action, I’m constantly aware that there’s something in the periphery of my vision. I dislike mezzanine/balcony overhang for the same reason.

Anyway, I’m seeing next Wednesday and I’m glad some of these reviews are tempering my expectations. I think I’m hanging perhaps too much on this single revival, and no show can meet that kind of hype.

I saw it last night and thoroughly enjoyed it, even though it isn't my favorite Sweeney production. Annaleigh was marvelous and I loved the amount of comedy in this production as a result. Definitely getting some flashbacks to Kinky Boots with the accent.

I've been a Josh Groban fan for a couple of decades so was excited to see him. He sounds fantastic, but the acting choices in the first act didn't quite work for me. Crossing my fingers he makes a few changes to make it hit harder.

I'm only somewhat aware of Jordan but with the audience response, I anticipated a lot better. He was sometimes hard to understand, but mostly it seemed like he was struggling with the lower notes in particular. That being said, Gaten was the opposite and was a delight! He sounded great and had the acting chops for it. Glad he's a talented theater boy who went to Hollywood to get that money!

I was in row G of the mezz and my sightlines were fine! I was pleasantly surprised with the sound quality. I could still hear all of the actors over that fabulous orchestra! There were only a couple of times that a mic seemed to go out that I noticed. 

I admit that the set was a little underwhelming, but I thoroughly enjoyed the large ensemble. I'll love the album for this production.

Dollypop said: ""First full-scale revival in 43 years"????

I guess those glorious performances at the NYC Opera with the original sets and costumes don't count."

That was not a revival. It only ran a few weeks.

jawnmorris said: "I saw the show last Thursday and thoroughly enjoyed, I also didn't think Jordan Fisher was particularly bad ... but I did wonder why they couldn't find someone who could sing the original key. One thing that didn't click for me, that I don't think I've seen anyone else remark upon, was Annaleigh's accent. It was obviously a charismatic and very impressive performance otherwise, but at times it was hard to tell what she was going for. There were moments where I thought she was emulating Angela, others that came out with an almost southern twang, others that sounded kinda like Katharine Hepburn? I know Cockney is pretty specific and difficult to reproduce (personally I know I couldn't), but it did stand out to me in the midst of an otherwise extremely polished performance. Wondering if it was truly just me?"

Feel like everyone’s accents are all over the place 

HogansHero said: "Dollypop said: ""First full-scale revival in 43 years"????

I guess those glorious performances at the NYC Opera with the original sets and costumes don't count."

That was not a revival. It only ran a few weeks."

Using that logic Lansbury's 1983 run of Mame wasn't a revival.

It might not have been Broadway but it absolutely was a revival, albeit a limited run revival. It also had 40 some people in the orchestra, another fact the current revival of Sweeney Todd seems to be BEGGING people to forget.