Groban & Ashford in SWEENEY TODD On Broadway - Reviews & News Thread- Page 33

[Robbie2]

Posted: 3/11/23 at 2:25pm

Robbie2 said: ""

[Robbie2]

Posted: 3/11/23 at 2:26pm

Robbie2 said: ""

[Dylan Smith4]

Posted: 3/11/23 at 6:36pm

Saw the matinee this afternoon! WOW JUST WOW! What a show! Josh Groban has exceeded my expectations as Sweeney Todd! This show is perfect for him! As for Annaleigh, MY GOD that woman blew me away. I was a bit skeptical about her playing Mrs. Lovett at first but she also exceeded my expectations. She brought her own version of the character to the stage. Granted, her English accent kinda reminded me of when she played Lauren in Kinky Boots. I’m not saying it’s an issue. It worked out really well! Gaten Matarazzo blew me away and even brought me to tears when he sang “Not While I’m Around”. I had forgotten how well that man can sing! Now, let’s talk Jordan Fisher. He’s a great actor but I do not think this role was meant for him. Hear me out, Sweeney Todd is an Opera, Fisher is not an opera singer. I just had a hard time seeing him play the role of Anthony. Again, acting wise, he was pretty good, singing wise, he was struggling a bit. Don’t get me wrong, I think he has a lovely voice but these songs are just not for his vocal style. Saving the best for last, the ORCHESTRA!!!! OMG! I cannot tell you how many times I got chills down my spine! The power and beauty of a 26 piece orchestra is no joke! This is what has been missing in each Sweeney production on Broadway since the original! The set really helped tell the story. Won’t spoil too much on here about it but it’s a gorgeous set! Thomas Kail had an incredible vision with this show and he did not disappoint interpreting this iconic piece of theatre. If Sondheim were still alive, he would not be disappointed one bit! I hope this show does well for awhile! After witnessing the energy of the crowd this afternoon, this will be running for a while! Get a ticket if you can! You won’t be disappointed! 

[StylishCynic]

Posted: 3/11/23 at 11:29pm

I caught the second preview. There's a lot that's already been said that I doesn't need to be repeated ad nauseum. 

I saw in the farthest-right seat of row Z in the orchestra... and I thought it was actually a wonderful seat for $100. Zero sound issues (besides mics not being turned on when they should).


The Good

• A Little Priest and the last 40 minutes of the show were just WOW. I considered walking out at intermission before we got to Epiphany / A Little Priest. ALP saves the show, as far as I'm concerned. The momentum and thrust of the show is just day and night afterwards.
• The set design was terrific, inventive, and engaging in act 2. 
• Maria Bilbao makes Joanna quite memorable for once. 
• As a previous commenter notes, the show is Annaleigh's... yes, I agree, but I found that to be the case only after ALP (more below)

The Bad

• The energy of the first 45 minutes or so was non-existent. Worst Pies is usually a huge jolt of energy, and I found Annaleigh's rendition to be a huge disappointment. She seemed to be singing at 40% volume and energy. I now know that they designed the show to build to the mayhem of the ending, but the cast needs to be giving 75% at the beginning; right now, we're getting maybe 45%. I was very bored for the first hour, and I considered leaving at intermission until we got to ALP.
• I didn't care much for the set in act 1. It was very sparse, and I really didn't find there was much to look at. 
• Jordan Fisher... Joanna was a chore to endure. 
• Pirelli's death simply doesn't land, and I very well think some people might not understand what happens.

The Missing

• I really think the should would benefit by adding in the Judge's Joanna. Until the end of act 1, all of the songs are table setting for what's to come. I couldn't help but feel that there was a spoon missing without the Judge's mea culpa. It's really the best example of show, don't tell, your audience about your characters, and this is, perhaps, the most vile of all character reveals. His death –and the audience's desire for it– doesn't quite hit the same without out. 
• The whistle: all that I'll say is, "I really don't see how ST benefits from not including it; there's no novel replacement in this production so let the damn thing in."

Updated On: 3/11/23 at 11:29 PM

[Dylan Smith4]

Posted: 3/12/23 at 8:39am

 

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I was a bit surprised myself that the whistle was gone in the opening ballad. That’s supposed to give us the thrill of it all. It still worked out well I guess. I am also happy they kept the “slide” moment in the set after Sweeney kills people. Also, I don’t know what they did about the blood but my god it was so realistic! 

Above are some more of my thoughts about the set and effects of the show. 

[BarnabyTucker]

Posted: 3/12/23 at 1:56pm

Having been at the first preview, and having seen last night's evening performance, I thought I'd weigh in on the changes (happy to say all net positive) since the first preview:

- The opening ballad is much tighter and there's a really cool effect with some of the ensemble rising out of the floor during the prelude.  Overall, the movement/choreography is much tighter and the movement heavy City on Fire sequence (WITH THAT CRANE!) remains stunning.

- They've added a really simple, but effective lighting effect when Mrs. Lovett is pushed into the oven that really solidifies the weight of the moment.  Ashford also struggles more through her final waltz with Groban, and it's genuinely terrifying to watch her fight for her life when Groban pushes her into the oven.

- I think Jordan Fisher has grown leaps and bounds within only two weeks.  His vocals are getting there, and I think he's spot on with the sailor.  This Anthony isn't a polished "her majesty's" sailor, but a kid who works on the docks and moves freight.  I thought it was effective.

- Ruthie Ann Miles continues to mine the text for layers to Lucy.  My heart broke into pieces when she had to tell Anthony that Johanna lived with her rapist.  It's a thoughtful, touching performance that I sincerely hope is recognized by Tony season.

- I wasn't thrilled with Thomas Kail' direction the first time I saw it.  His staging in particular made me appreciate Hal Prince's talent for staging big crowd scenes.  Whether it was the masses in EVITA or the marketplace in SWEENEY, Prince knew what to do with large crowds of people.  This time around the staging seemed much more focused and there was real intent behind everyone's placement and why they were there. Kail also has a real talent for creating effective stage pictures and I like how he plays with levels and power dynamics visually.

- Ashford is in the running to one day be regarded as a first lady of the American musical theater.  I cannot wait to see where she goes with her career.  I have NEVER sympathized with Mrs. Lovett until her performance.  Long may she reign! 

- Groban is much more menacing than he was at the first preview.  It's not the Sweeney many of us are accustomed to but it's a competent performance in the acting department, and his vocals are second only to Hearn imo.

I am really happy that everyone involved has been making the most of this preview period.  I sat in roughly the same section (but opposite side of the house) as I did last time, and the orchestra has been appropriately amplified and we can now truly appreciate it. 

There's some great work going on here and, on reflection, I am thankful for this art form and that there are artists with the craft, heart, and intelligence who can offer a fresh look at a universally regarded masterpiece.

[Marway44]

Posted: 3/12/23 at 1:57pm

Saw the matinee yesterday too and was blown away. The set was simple but worked. The orchestra sounded incredible and absolutely beautiful. You can understand every syllable out of Josh’s mouth. Annaleigh was funny and a natural performer. The ensemble was terrific. Nice to see Patricia Phillips in this. She did her “Carlotta” belting every now and then and towered over everyone else. For those of you who, like to sit close, the stage was ridiculously high, but it was nice to sit that close to them to see they are full facial expressions and make up. As said Jordan is miscast but he tried and sounded good sometimes. Nicholas nailed Pirelli and John Rapson found his calling. He was much better in this than he was in Les Mis. I didn’t realize he had such a great voice. Overall, an outstanding production that I know is going to win multiple awards. I literally found myself smiling most of the way through the show, even though it’s a thriller. I also must add that the blood was outstanding and made the audience laugh, cringe and groan but it looked amazing. If you’re on the fence, I say to go sooner than later before anyone tires out or starts missing performances. This was a terrific three hours well spent!

[JasonC3]

Posted: 3/12/23 at 3:13pm

"Ashford is in the running to one day be regarded as a first lady of the American musical theater."

I'm sorry.  What?

[GiantsInTheSky2]

Posted: 3/12/23 at 5:42pm

She has an impressive list of credits that include Glinda in Wicked, Lovett in Sweeney Todd, Dot/Marie in SITPWG, Maureen in RENT off-bway revival, Kinky Boots (Tony Nom.), Pilar in Legally Blonde as well as Elle in the developmental readings.

Non-musical theatre work includes Helena in Midsummer at the Public, a good amount of TV work (SMASH, Rocky Horror remake), and won a Tony for You Can’t Take It with You. 

Who would you consider if not her? 

 

[ljay889]

Posted: 3/12/23 at 6:52pm

Just saw the matinee and had a much better experience than at the first preview. The production has greatly improved. The sound and lighting is much better. I was in orchestra row E and the orchestra sounded like absolute perfection. I much prefer the sound from the orchestra rather than the front of the rear mezz.

Groban’s acting has gotten more intense and more menacing, some really wonderful choices. 

Ashford continues to delight, and the audience was eating up everything she did. Her vocals also sounded better today than at the first preview. 
 

Fisher has certainly improved in all aspects, from his accent to his singing. He does tend to get drowned out when singing with stronger singers like in the Kiss Me quartet. 
 

Everything was tighter all around. Yes, there’s more blood, thankfully. I noticed the meat grinder actually grinds meat now, which I don’t believe it did during the first preview. 

There is now a whistle in “City on Fire” but still not during the deaths. It’s clearly intentional at this point, but it was nice to hear the whistle during that sequence. 

The barber chair didn’t work during the Judge’s return, and Groban basically pushed Jackson into the chute. The audience got a real kick out of it, and both actors handled it well. 
 

The audience was better this time, and there was less unintentional laughing and annoying behavior. 
 

The production is really getting quite strong, and pretty much everything worked for me today, including the set, which was impressive from the front orchestra. 

[akhoya87]

Posted: 3/12/23 at 6:58pm

ljay889 said: "The barber chair didn’t work during the Judge’s return, and Groban basically pushed Jackson into the chute. The audience got a real kick out of it, and both actors handled it well."

I saw this last night, and they had the same problem with the chair during the Judge's return.  Jackson crawled off-stage, which was both hilarious and awkward.

Updated On: 3/12/23 at 06:58 PM

[ljay889]

Posted: 3/12/23 at 7:04pm

Hah! Yep, it was a mix of Groban pushing him and Jackson crawling today. 

[kidmanboy]

Posted: 3/12/23 at 7:32pm

I was there and he did actually make it into the pit, although a bit awkwardly. I thought the cast handled it well and had expected them to stop the show. 
It also added some humor in the following scene where he’s still alive in the basement. 

[ljay889]

Posted: 3/12/23 at 10:21pm

Also, did someone in this thread say Fisher is singing in lower keys? His “Johanna” is absolutely in the original key. 

[BarnabyTucker]

Posted: 3/12/23 at 11:58pm

JasonC3 said: ""Ashford is in the running to one day be regarded as a first lady of the American musical theater."

I'm sorry. What?"

She's 37 and has had an incredibly impressive career thus far.  I'm excited to see where her career goes in the next 20, 30 years.

[g.d.e.l.g.i.]

Posted: 3/13/23 at 11:39am

ljay889 said: "Also, did someone in this thread say Fisher is singing in lower keys? His “Johanna” is absolutely in the original key."

They're used to "Johanna" being in F Major, where it has been for a lot of revivals and Philharmonic concerts. His "Johanna" is definitely in Victor Garber's key, which was lower than that.

[ErmengardeStopSniveling]

Posted: 3/13/23 at 11:53am

Garber, imho, is one of the weaker-voiced Anthony's I've heard. He probably brought a lot to it in his acting, but on the album it doesn't translate as well as, say, Cris Groendaal who replaced him, or Davis Gaines or Jay Johnson or Hugh Parano.

[JasonC3]

Posted: 3/13/23 at 12:20pm

Happy that others find Ashford to have a more compelling "first lady" of musical theater presence/potential than I do.  I certainly don't dispute she's had a lot of roles in her relatively young career. And now back to wondering if the whistle couldn't be shipped via Amazon Prime.

[Musical Master]

Posted: 3/13/23 at 1:32pm

I'm going to see this during the summer, so it's nice to read other reactions that the show is improving as the weeks go by. Not to mention the 2 weeks of previews left until opening night. Good to hear that there is indeed a whistle at some point during the show instead of cutting it all together, which would've been a choice.

[RippedMan]

Posted: 3/13/23 at 2:42pm

JasonC3 said: "Happy that others find Ashford to have a more compelling "first lady" of musical theater presence/potential than I do. I certainly don't dispute she's had a lot of roles in her relatively young career. And now back to wondering if the whistle couldn't be shipped via Amazon Prime."

She's very talented, but I'll wait until she gives us something a little different. For all the complaints that Lupone doesn't have versatility, I disagree. Her Fosca to her Mamma Rose to her Joanne are all different, distinct performances. And I'd have loved to hear her sing "Sunday in the Park." 

[Robbie2]

Posted: 3/14/23 at 8:57pm

[g.d.e.l.g.i.]

Posted: 3/14/23 at 9:16pm

g.d.e.l.g.i. said: "They're used to "Johanna" being in F Major, where it has been for a lot of revivals and Philharmonic concerts. His "Johanna" is definitely in Victor Garber's key, which was lower than that."

Piggy-backing on what I said, let's be clear on what this revival is, as its press has been making it out to be: a love letter to the 1979 original. If you're coming expecting anything else, you're in the wrong theater.

[Auggie27]

Posted: 3/14/23 at 9:50pm

Robbie 2, where was your seat for that photo? Just curious. Looks perfect.

[RippedMan]

Posted: 3/14/23 at 10:26pm

g.d.e.l.g.i. said: "g.d.e.l.g.i. said: "They're used to "Johanna" being in F Major, where it has been for a lot of revivals and Philharmonic concerts. His "Johanna" is definitely in Victor Garber's key, which was lower than that."

Piggy-backing on what I said, let's be clear on what this revival is, as its press has been making it out to be: a love letter to the 1979 original. If you're coming expecting anything else, you're in the wrong theater."

Is it? No whistle. 

[weaselprince71]

Posted: 3/15/23 at 2:52am

g.d.e.l.g.i. said:  "Piggy-backing on what I said, let's be clear on what this revival is, as its press has been making it out to be: a love letter to the 1979 original. If you're coming expecting anything else, you're in the wrong theater."

I haven't been yet; I'm looking forward to seeing the show twice next month.  But while its nostalgia may extend to preserving the original keys for the story's dullest character (in both senses, both deliberate) -- still, nothing I've seen or heard so far suggests that this revival approaches the original staging or designs quite so reverentially.  Which is fine; I've been heartened by the upswing in enthusiasm here from folks who've seen it most recently and noted improvements from the earliest previews;  and I'm very much hoping I'll love Kail's production on its own terms.  But I'm not sure that just using the original full orchestration -- and finally giving the piece another NYC production that is not, in broad terms, experimentally (or pragmatically) miniaturized -- automatically makes it a "love letter" to the original (which isn't to say that both those choices aren't overdue and well worth celebrating).  Kail & co. do seem to think of it that way, which sounds hopeful, but all I've seen to support such an intention in visual terms so far is a bridge and a crane; it remains to be seen whether their homage, however sincere, succeeds as more than a handful of isolated gestures.

My fear has been that their revival might end up as a nervously-calculated attempt to appeal to both fans of the original (large theater, full ensemble & orchestra, a few token "industrial-era" scenic elements) and of the Burton movie (sexy leads, black-brick surround, godawful poster art) -- while tiptoeing gingerly around Hal Prince's unapologetically Brechtian political framework, which has fallen from favor ever since SJS began blessing ever-smaller productions on the basis of his original pre-Prince impulse (chamber-sized revenge thriller, claustrophobic pub-theatre scares).  However pure those intentions may have been, it's always seemed to me that Prince's epic scale and political animus ultimately found their way into the writing at a deep enough level that it's probably unwise to ignore them entirely; the Doyle and Tooting Arts versions were interesting and productive experiments, but they could never be definitive, because, in focusing exclusively on individual psychology at the expense of social context, these "teeny Todd"s left a significant chunk of the work unexplored.

Pace Sondheim Himself, Sweeney isn't a droll little fright-fest about a psychotically enraged serial killer and his besotted, amoral landlady.  More than that, it's an apocalyptic, resolutely unsexy vision of humanity (or at least, of humanity under capitalism), so deeply pessimistic that its pitch-black "humor" should elicit more shivering revulsion than actual laughter.  (The show, alarmingly, has never felt more timely).

All of which is my roundabout way of saying, I hope this production is indeed a love letter to Prince's 1979 original as well as Sondheim/Wheeler's.  It's clearly not a carbon copy -- which, again, is fine.  (I was just a few years too young to have seen it on B'way, but have spent countless hours over the ensuing decades obsessing over the original designs and going through the tour video with a fine-toothed comb -- and even a handful of photos from the new production are enough to establish that this ain't that).  But I hope it somehow manages to reconstitute, for 21st-century audiences, something of the original shock and awe, the expansive theatrical world-building and sheer overwhelm, that have gone pointedly missing from previous revivals (NYCO notwithstanding) of this show.