Groban & Ashford in SWEENEY TODD On Broadway - Reviews & News Thread — Page 35

ColorTheHours048 said: "I needed to sleep on my thoughts, having seen it last night, and I think they’re coherent enough now.I’m going to get my gripes out first since they’re significant, but I want to emphasize they weren’t the dealbreakers I thought they’d be.

Jordan Fisher‘s performance as Anthony is abysmal. Let’s just get that out of the way. He’s bad. The accent work, the acting, the facial expressions, it’s all rough. He dropped multiple lines all night, came in too early on a couple songs, and was just generally lost at sea up there. His “Johanna” was his strongest moment, but we’re talking lowwwww bar here.

I found Josh Groban’s active choice to NOT be just a monster ended up making his book scenes as Sweeney a bit one-note. This is supposed to be a man driven mad by his need for revenge, not a man perturbed about his need for revenge. I never truly got the sense he’d snapped.

That being said… WOW, this production is great fun. It nails such a wonderfully spooky tone right from the start - thanks largely in part to Natasha Katz’s shadowy lighting; Mimi Lien’s imposing, evocative set; and Steven Hoggett’s creepy, uncomfortable choreography - that it leans into at every possible moment. The ensemble in general is the highlight of the production for me. There’s a great sense of a collective of people coming together to enact this story, and you can tell everyone is enjoying themselves. One of the highlights for me was “The Letter,” which I’ve always found kind of an odd musical moment but here finds a perfect cohesion with the rest of the ensemble work and is one of the more thrilling moments.

Individually, Annaleigh Ashford is the biggest standout of the evening. Yes, she could speak a little more clearly, or project more. But we’ve never seen Lovett played like this, and she’s absolutely genius. Goofy, sexy, h*rny, frighteningly opportunistic, but also a genuine amount of heart and maternal care that makes her death actually feel like the heaviest tragedy of the night. Gaten Matarazzo, Ruthie Ann Miles, and Maria Bilbao are also very very good. I could see all three of them nominated for Tonys. Gaten, especially, makes quite the impression with “Not While I’m Around,” a song I’ve always wanted to connect with more and was surprisingly moved by last night.

Now, Josh Groban and the orchestra are going to go hand in hand here, because that man’s voice is every bit the instrument as any of the 26 pieces in the orchestra. He sings Sweeney beautifully, and the orchestra is right there to soar with him. If it all feels a little safe and lacking the “danger” of past productions, what is most felt here is a reverence for Sondheim’s craft. There is a deep love Groban clearly has for this score, and Alex Lacamoire as well, and it all sounds utterly gorgeous. I’ve never been more aware of what a gorgeous song “My Friends” is, or even been able to discern the tempo before, and they’ve made it all crystal clear.

And I didn’t miss the whistle one bit."

We saw the same Wednesday night performance, I believe, and I agree with a lot of this. I mentioned in a thread on my trip this week that I also didn't think Josh Groban managed to tranform himself into a monster - at least not yet - as the show is still in previews. I thought Groban was very good in Great Comet, including acting very angry when the moment called for it, so I still think he has it in him. But he's got the voice for the part, which is no small thing.

For all the criticism that Thomas Kail's direction and the entire production is too safe, there is Annaleigh Ashford, who is taking real risks by giving us a very different, lusty, physical (including goofy pratfalls) performance as Mrs. Lovett. If everyone else is hitting their marks, Ashford seemed totally unpredictable. I didn't love every choice she made but I appreciated the daring. My biggest critique is the same as yours: She doesn't always project her voice as well as she could. I don't know if that's always been an issue for her (I haven't seen Ashford before) or if it's unique to this show. I thought Ashford gave a flawed but rather brilliant performance. I don't know if I'm seeing "her usual schtick," but it worked for me.

I worried, based on comments beforehand, that I would find the choreography just kind of weird, but I thought it frequently added to the production without becoming a distraction.

I didn't think Fisher was as bad as you did. And singing "Johanna" well, while perhaps not the toughest accomplishment in musical theater, is important. From the audience reaction, the guy certainly has an enthusiastic fan base. Gaten Matarazzo came onto the stage without a big fuss by comparison but gave a very strong performance as Tobias.

There are people on this board who have seen many incarnations of Sweeney Todd, but most people haven't seen it on stage - ever. I'm no spring chicken, but Wednesday night was the first time I had seen the show in New York City or, for that matter, any Sondheim musical. I haven't been able to make a trip there for nearly four years. People a lot younger than me have perhaps seen the movie or know the show by reputation. In my neck of the side orchestra, it was a more diverse audience than I was expecting. Instead of a very white, old group, I was surrounded by a lot of people who are my children's age of all different races. After its first couple of months, this show is going to have to appeal to people who have never seen Sweeney Todd or know anything about the famous writer of its score. The much-acclaimed (and loved by my younger daughter when she saw it last year) revival of Company didn't last long on Broadway. I don't know if Sweeney Todd can succeed where Company did not, or even the original did not, but its commercial fate will not be decided by purists.

I saw the show on Wednesday night (3/15).  I guess I fall into the "good, but not great" camp — it's a perfectly fine, very straightforward production.  Nothing particularly innovative or new.  I've certainly seen more thrilling "Sweeneys," but in general I would recommend it.

Echoing others, the most significant reason to see this "Sweeney" is Annaleigh Ashford's performance. She succeeds in putting her own spin on Lovett, and for the most part, her interpretation works.  Gaten Matarazzo is also a very pleasant surprise. Groban sings the part well, and the orchestra sounds terrific.

However, there are more than a few weak spots. The production design was especially underwhelming considering the space available.  (This simple "bridge" set can be recycled for any number of other shows.) And while Groban is an amazing singer, I wish he were a stronger actor.  If this were a concert performance, he would be the perfect choice, but at no time did Groban's Sweeney seem truly menacing or dangerous.  And without the building tension of his growing insanity, parts of the show sagged a bit (particularly in act 1). 

Other more minor issues include the choreography -- there were a few short transitions where it was effective, while it just seemed unnecessary and almost silly in other spots. Further, I will admit that I missed the whistle.  As someone else on this board stated, there was nothing gained artistically by eliminating it, so it should have been left in. And lastly, the show needed more blood. (I know some may not agree with me on this point, but Sweeney is not giving superficial wounds!)

As others have suggested, if you've never seen any of the previous "Sweeney" productions, this is a fine introduction.  And if you just need a Sondheim fix, definitely go.  Ashford is wonderful, and the show sounds great.  But is this production a "Sweeney" for the ages?  Probably not.

DrewBill said: "I saw the show on Wednesday night (3/15). I guess I fall into the "good, but not great" camp — it's a perfectly fine, very straightforward production. Nothing particularly innovative or new. I've certainly seen more thrilling "Sweeneys," but in general I would recommend it."

I echo this.  What's memorable for me two weeks after seeing it are:

1.  Groban's singing

2.  Ashford's slapstick/shtick (not all of the recall being positive)

3.  How Sweeney arrives and how he and Lovett leave

4.  A few full ensemble moments when their voices, the orchestra, the choreographed movement, and some superb lighting congealed into thrilling stage images.

 

I agree that A Little Priest is hard to do, as for a comedic number, it moves very slow and goes on for some time. But I personally think Groban and Ashford’s rendition is excellent.

I was in row A seat 107 last night, there was no issue with the railing. 

ACL2006 said: "

"

They look and sound fantastic. Can't wait to see them in a few weeks :)

I was expecting to be blown away and left thinking they have a lot to fix.  At times you could not understand Ashford.  Josh was good.  The set was expensive regional theater looking.  Jeanna de Waal was in for Ruthie and she was a highlight. The lighting was unremarkable, the sound was BAD.

Josh sounds excellent in those clips. Annaleigh sounds like Annaleigh, but it works. I got chills during the clip of A Little Priest's climactic ending. 

Was supposed to be at the show on Friday, but I'll now be going on the 29th. Looking so forward. 

They both sound wonderful, I'm excited to see it June. One thing though, does Mrs. Lovett only have two outfits during the whole show? I wonder if the promo/Playbill outfits they had were only there for promotional purposes.

Updated On: 3/19/23 at 02:34 PM

Ruthie is still out. 

Went to the box office today to buy tickets. I was reading the audience advisory and it said there is a gunshot. 

Can someone please tell me in which act and scene/song when they shoot the gun? 
 

I don’t like loud noises out of nowhere when I see a show

uncageg said: "Voter said: "Went to the box office today to buy tickets. I was reading the audience advisory and it said there is a gunshot.

Can someone please tell me in which act and scene/song when they shoot the gun?


I don’t like loud noises out of nowhere when I see a show"



The night I saw it, it sounded like a recorded shot. Not jarring at all. It is in Act II. I don't like gunshots but this one was not jarring in the least. And you see it coming.

"

Thank you so much for replying! I really appreciate it. Do you remember the song/scene and the character that held the gun? If not, I understand nbd if it’s a recorded sound

bear88 said: "The gunshot occurs during a scene in Act II when Johanna has been sent to an asylum.

Further details (if you need them) behind spoiler tag:

"

Thanks for doing the spoiler. I thought to maybe do it but I got a call as I was typing and just posted what I wrote!