Groban & Ashford in SWEENEY TODD On Broadway - Reviews & News Thread — Page 32

bwayobsessed said: "Also I don’t get the choice to have Lovett in blue for act 2."

I have a theory…

I have a lot of thoughts but at the same time feel like this production was fine. It’s not the slam dunk I think a lot of people thought it would be. The choreography often took me completely out of it. It’s wrought. It says to me the creatives don’t trust the text to speak for itself and of all shows, THIS show is strong enough without. That said, at times it worked. 

Josh to me was especially strong. Annaleigh did her schtick well. Gaten will be nominated 100% and has a shot at winning I’d say. Ruthie was excellent, but the optional lullaby  not being included muddied the discovery of who she was I thought. Jordan, it’s not his fault but is painfully miscast. Not everyone can do everything and that’s ok. But thank GOD that orchestra was there for Johanna because on vocals alone he left much to be desired.

The design elements baffle me. Natasha Katz is the best in the biz, but I do not understand some of the technicolor choices. The set is functional if not a bit ugly. Agree with the comment about the backdrop. At times it looked like a dirty cyc in the arch. 

They HAVE GOT to fix the Beadles death because honey…

All in all, this production has a lot to like, but at the end of the day is safe with some really weird choices. I would like to see it again later in the run for sure. 

Updated On: 3/10/23 at 12:22 AM

I don’t get how Jordan can sing Evan Hansen but not this?

RippedMan said: "I don’t get how Jordan can sing Evan Hansen but not this?"

There is a distinct difference in technique for these two scores. That's how. It's not just about range, it's about style and he sticks out like a sore thumb every time. He's helped by the fact Anthony/Johanna have some of the most gorgeous songs Sondheim ever wrote and the orchestrations just elevate Johanna and Kiss Me/Ah, Miss/Ladies and Their Sensitivities to a transcendent place. So he has crutches to lean on that cover some of his shortcomings. I would hate to think what his performance would be without a full orchestration under him. 

I would expect better than Music Man but not by much.

Yes. Good but not exciting is exactly right. 

OhHiii said: "RippedMan said: "I don’t get how Jordan can sing Evan Hansen but not this?"

There is a distinct difference in technique for these two scores. That's how. It's not just about range, it's about style and he sticks out like a sore thumb every time. He's helped by the fact Anthony/Johanna have some of the most gorgeous songs Sondheim ever wrote and the orchestrations just elevate Johanna and Kiss Me/Ah, Miss/Ladies and Their Sensitivities to a transcendent place. So he has crutches to lean on that cover some of his shortcomings. I would hate to think what his performance would be without a full orchestration under him."

But that's the thing that irks me is that the creatives did hear that. They heard him with just a piano and still cast him. Just boggles the mind. I understand it's different techniques, but he clearly has the range if he can do DEH, so it's interesting to read people thought he was struggling with the notes. But belting it out and sustaining a sweet sound are two totally different things. I'm just surprised is all. (Again, there are a TON that can do both)

Getting in from tonight’s show, just now. Very happy to st say Jordan has greatly improved since that first preview I saw.  
 

The addition of the blood in act two is great but I’m going to be greedy and say it still needs to be more. Also they need to fix Ruthie’s blood because she just quickly (and obviously) smears it on her neck and for me, it doesn’t read well.

 

And I thought the whistle was back so was a bit disappointed when I didn’t hear it

Robbie2 said: "ljay889 said: "I'd imagine a formal curtain call is still to come."

This looks to be a mess of a curtain call but it was from the 1st preview. Anyone seen it recently and have any changes been made?

https://www.youtube.com/watch?v=KSJkzRKR_2k"

Pretty sure it’s different. Think they have the ensemble then the other parts for out separately. I saw it last night but shows are blurring together 

Totally forgot to mention the lighting - it has changed and is no longer as dark as it was. It looks great and you can actually see certain things that I felt were almost totally hidden in darkness before.

Sound still felt a little unbalanced to me with Ashford. I now think a lot of it really is just her characterization and speaking VERY soft and low at times. It’s a tough thing to do in a house as deep as the Lunt. 

The blue dress strikes me as lacking the garish nouveau riche component -- almost too tasteful for this bougie-ascending woman with delusions of a comfortable middle-class-ish life at last. One can guess that a decision was made to create a more pragmatic, ever-sensible Lovett. I'm wondering how its relative plainness reads in such a large house. Lansbury's act 2 drag was brilliantly outre.   

I like the way they’ve included nods to Sweeney’s iconic costumes of the past: the sweater and suspenders of the original production, and the vest and cravat from the film, without completely recreating either.