Groban & Ashford in SWEENEY TODD On Broadway - Reviews & News Thread- Page 36

[bear88]

Posted: 3/19/23 at 6:45pm

I did the same thing, then thought about the fact that Voter (like a lot of people) has never seen the show. Many don’t like gunshots, or seeing guns at all. Some folks will want very specific details, others will just want to know what scene they should worry about. So I quickly changed my reply.

 

[Voter]

Posted: 3/19/23 at 6:53pm

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:

 

Click Here To Toggle Spoiler Content

Anthony goes to the asylum with a gun to rescue her. But in the end, Johanna fires the weapon.

"

Thank you so much for this information?

was the gunshot a pre-recorded sound effect (coming from a sound booth)? Or does the actual character pull the trigger and a fake blank comes out?

[Musicaldudepeter]

Posted: 3/19/23 at 7:47pm

what-- Updated On: 3/19/23 at 07:47 PM

[morosco]

Posted: 3/19/23 at 8:02pm

The costumes. Why are they all so pristine? For the time period one would think they'd look a bit a bit more worn and distressed.

[uncageg]

Posted: 3/19/23 at 8:11pm

Voter said: "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:

 

Click Here To Toggle Spoiler Content

Anthony goes to the asylum with a gun to rescue her. But in the end, Johanna fires the weapon.

"

Thank you so much for this information?

was the gunshot a pre-recorded sound effect (coming from a sound booth)? Or does the actual character pull the trigger and a fake blank comes out?"

 

As mentioned in my post, it definitely sounds recorded. Trust me, it probably won't scare you. I personally wished the sound actually came from the gun itself to sound more real.

 

[NotThatSmart]

Posted: 3/19/23 at 8:11pm

KJisgroovy said: "Any idea when Gaten or Ruthie are leaving for their other commitments? They're both headliners and it seems very likely they'll be absent for extended periods. Odd it's not called out anywhere?"

I’ve heard through the grapevine that Stranger Things begins filming in May.

[uncageg]

Posted: 3/19/23 at 8:30pm

NotThatSmart said: "KJisgroovy said: "Any idea when Gaten or Ruthie are leaving for their other commitments? They're both headliners and it seems very likely they'll be absent for extended periods. Odd it's not called out anywhere?"

I’ve heard through the grapevine that Stranger Things begins filming in May."

 

That could be true but it is possible that Gaten may not be needed on set until after then. I suspect he must have had some idea when he would start filming before being offered and accepting the role in Sweeney.

 

[JasonC3]

Posted: 3/19/23 at 8:53pm

Lane as Lovett is always good for a little chuckle.

https://youtu.be/3gsMZx2eCXk?t=759

[Musical Master]

Posted: 3/20/23 at 1:14pm

For those complaining about how the set is too "minimalistic", just remember that the 1989 and 2006 revivals were extremely small in every sense of the word. Judging from pictures I've seen; Mimi Lien's set is more like Michael Yeargan's set design for The King and I, small but grand for what it's going for. Honestly, the fact that this revival has Jonathan Tunick's original 26-piece orchestra is what sold me for this production, the talented cast and crew aside.

[broadwayboy223]

Posted: 3/20/23 at 1:31pm

I saw the show last Thursday night (Nicholas's debut) and I came away more mixed to negative to be honest. Just some personal background, my father saw the OBC as his first ever broadway show and I grew up loving Sweeney. I wanna start off by saying that the audience seemingly is loving and eating it up so i guess I'm in the minority. 

Nicholas did very well for his first time going on and i can imagine he's a bit scarier than Groban. Really enjoyed the direction he was heading in. Its unfortunate that he's quite the super tenor and you could tell Sweeney is LOW for him. He attempted an opt up in Epiphany that didn't quite work... I don't even really think of Groban as a true baritone. It would've been really nice to hear the right kinda voice for Sweeney to match the INCREDIBLE sounding orchestra. 

Annaleigh is not my favorite lovett. She got a few genuine laughs out of me but there was SO much mugging and pandering for bits. I also would've loved to hear a bigger-voiced Lovett (in general i think this is one of the lightest-voiced cast production of sweeney todd I've heard haha)

Jordan Fisher is...Jordan fishering as Anthony and its okay? He's there. 

Maria sings very well as Johanna. I didn't get much acting wise but the voice was lovely to hear. 

Ruthie was so sublime and textured. I loved watching her work (wish she had more to do tbh)

The movement is beyond stupid and is not necessary in this show LMAO. And the direction? Doesn't really exist? I just wanted so much more for this revival. Needed more blood too. 

Like i said most everyone is loving it so I'm glad people are connecting with it. It's just not the sweeney todd (nor the concept/casting) that would be the most exciting for me personally. I think this version is great for the people who've never seen it/as an introduction. 

[broadwayboy223]

Posted: 3/20/23 at 1:32pm

Oh and to echo someone earlier in the thread. Some of the tempos were just WRONG. I was shocked tbh

[binau]

Posted: 3/20/23 at 1:51pm

Josh Groban was back and I now have the privilege to have seen both Josh and his understudy Christopher. I’d say I’m lucky but at this point given the time and expense of this hobby I do feel it’s good to have some benefits! 

 

The Sweeneys couldn’t be more different - Christopher’s Sweeney has much more the feel of a contemporary actor taking on King Lear - he attempts an accent, is making very deliberate efforts to create tension, hold back and finally explode (Epiphany), brings powerhouse contemporary vocals. His Sweeney is genuinely sexy to the point where some of the humour of how desperate Lovett is hitting on Sweeney is actually lost because it would only make perfect sense for Lovett to be into this Sweeney. 

 

In many ways I wonder if THIS is the Thomas Kail vision for a contemporary Sweeney Todd. There is really no efforts made at all to in any way replicate Josh’s performance either vocally or acting wise. Perhaps one of the biggest surprises seeing the show again was watching Christopher as Pirelli - it is clear watching him in the part, played so so differently to Sweeney - that this man takes his craft so meticulously. 

 

On the other hand, Josh Groban could possibly have the most musically satisfying and beautifully sounding Sweeney Todd ever. I would say he is less of an actor than his understudy, but serviceable and actually probably more fitting the tone of the production for me than Christopher’s more realistic contemporary take that to me feels like it belongs more in an avande garde European off Broadway staging than this more standard interpretation. Also, given the mammoth nature of the score I don’t want to downplay how important Josh Groban’s musical contribution is - it’s this sound that in my opinion brings the magic and x-factor to the whole production. AND in terms of acting, intensity - I can’t wipe the memory from my mind of the intense, dissonant drones coming from his mouth during ‘Epiphany’ and to be able to use sound in this way will be far more impressive and powerful for me than someone who can hypothetically scream through the song. I cannot wait for the cast recording and Josh will certainly fill a needed gap in the cast recording cannon/break new ground. 

 

The other reflection I had watching the production is at this point I realise I am not the target audience of this production. But I think that’s ok and I consider the whole enterprise, using the word intentionally, a blessing. We literally have among the most powerful contemporary theatre producers and artists putting on Sweeney Todd in NYC as if it was Wicked or Hamilton for the general population. A full orchestra, a sizeable set, a large theatre, a full Merch stand (lol), a contemporary take on the material. Obviously this is going to be far more successful and reach a newer generation of theatre goers than any of the kind of niche aspirations I have about the material (eg. An offbeat croaky Mandy/Bernadette reunion) and I’ve already had more than my fair share of live and recorded productions that I can turn to if I need to. 

 

It is incredible that someone had the vision and ability to execute a Sweeney Todd that does justice to the material while making it appeal to contemporary sensibilities - my hope is that there are people sitting in the audience who don’t know Sweeney Todd, or Sondheim or even Musicals and fall in love with the magic. I hope that people talk about and make memes out of Ashford’s Lovett online as if her part were a contemporary female lead such as Glinda in Wicked or a Dear Evan Hansen. And I hope that when Josh leaves the show might still have an audience (though guessing not). 

 

Even if ultimately the production is not what a perfect Sweeney looks like for me, it’s lovely to sit in the audience of what I think is the first time ever I have felt to be at a commercial mainstream Sondheim production aimed at the mass market, rather than a kind of niche club. Happy that some of the team behind Hamilton believed in the material enough to provide this forum, and hope it is inspiring the upcoming generation! For that niche club feeling, I’ll be over at Parade. 

 

 

 

[TotallyEffed]

Posted: 3/20/23 at 2:19pm

Do we know what nights critics will be there?

[BCfitasafiddle]

Posted: 3/20/23 at 4:42pm

I'm going tomorrow. Do we think Ruthie will be back?

[ErmengardeStopSniveling]

Posted: 3/20/23 at 4:56pm

TotallyEffed said: "Do we know what nights critics will be there?"

Depending on how many nights are being offered, some combo of 22-23-24-25 (the latter 3 dates if I were to bet). They rarely offer the first performance back after a day off, so we can count out the 21st. If they are anticipating attendance issues for principals next week, could consolidate to Friday/Saturday.

Was Groban out again on Sunday after being back Sat night, or was I just late in my social media catchup?

Updated On: 3/20/23 at 04:56 PM

[TotallyEffed]

Posted: 3/20/23 at 5:00pm

Thank you. I’m going tomorrow and crossing my fingers the full cast is on.

[BCfitasafiddle]

Posted: 3/20/23 at 5:14pm

TotallyEffed said: "Thank you. I’m going tomorrow and crossing my fingers the full cast is on."

Me as well. Please, please, please!

[takemeaway]

Posted: 3/20/23 at 5:53pm

binau, loved this!  I'm definitely not a Sondheim purist.and hope to be very happy with this production.  Seeing it in April.

Updated On: 3/20/23 at 05:53 PM

[perfectpenguin]

Posted: 3/20/23 at 6:01pm

My ticket is for April 8th- first time seeing any production of Sweeney Todd! Can’t wait!

[bear88]

Posted: 3/20/23 at 6:04pm

binau said: "The other reflection I had watching the production is at this point I realise I am not the target audience of this production. But I think that’s ok and I consider the whole enterprise, using the word intentionally, a blessing. We literally have among the most powerful contemporary theatre producers and artists putting on Sweeney Todd in NYC as if it was Wicked or Hamilton for the general population. A full orchestra, a sizeable set, a large theatre, a full Merch stand (lol), a contemporary take on the material. Obviously this is going to be far more successful and reach a newer generation of theatre goers than any of the kind of niche aspirations I have about the material (eg. An offbeat croaky Mandy/Bernadette reunion) and I’ve already had more than my fair share of live and recorded productions that I can turn to if I need to.

It is incredible that someone had the vision and ability to execute a Sweeney Todd that does justice to the material while making it appeal to contemporary sensibilities - my hope is that there are people sitting in the audience who don’t know Sweeney Todd, or Sondheim or even Musicals and fall in love with the magic. I hope that people talk about and make memes out of Ashford’s Lovett online as if her part were a contemporary female lead such as Glinda in Wicked or a Dear Evan Hansen. And I hope that when Josh leaves the show might still have an audience (though guessing not).

Even if ultimately the production is not what a perfect Sweeney looks like for me, it’s lovely to sit in the audience of what I think is the first time ever I have felt to be at a commercial mainstream Sondheim production aimed at the mass market, rather than a kind of niche club. Happy that some of the team behind Hamilton believed in the material enough to provide this forum, and hope it is inspiring the upcoming generation! For that niche club feeling, I’ll be over at Parade.

I strongly agree. The commercial success of this Sweeney Todd revival won't be determined by people who spend their time on theater message boards. It will be determined by whether the show can appeal to younger people who neither know nor necessarily care who Stephen Sondheim and Hal Prince are, or who don't know anything about a factory whistle. This isn't a revival for purists, or for people who want a daring new reinvention of the musical. It's a largely straightforward revival, with the exception of Annaleigh Ashford's entertaining and sometimes goofy spin on Mrs. Lovett. Like the commercial success across the street, this Sweeney Todd is aimed at the masses. I don't know whether it will succeed, as major revivals (especially of Sondheim musicals) often draw widespread interest from fans of the show in the early months before petering out.

But it's certainly off to a strong start at the box office, and the enthusiasm in the theater was palpable when I saw it last week. My section, which may not have been reflective of the entire theater, was the most diverse of any of the four shows I saw - and it wasn't even close. Lots of young people of every racial background. Josh Groban didn't quite succeed, I thought, in the transformation he said he is going for - but it's early days, and as you noted, he sings the part wonderfully. By the time I saw him toward the end of his run in Great Comet, I thought he gave a terrific performance. Groban's best days as Sweeney Todd are probably yet to come.

The Hamilton folks know what they're doing. Jordan Fisher may not be the best Anthony, but the screams greeting his entrance and after his songs demonstrate that he's helping put butts in the seats and generating excitement for the show. In the meantime, everyone who didn't see the original production is getting to hear the full orchestra in all its glory. I had a few quibbles with the tempo of a couple of songs, but I guess I'm a purist in my own way.

And here's my test: My wife. She's the Sondheim-skeptic in the family, appreciating individual songs and his lyrics while not really loving any of his shows, with the possible exception of Company - which we haven't actually seen in person yet. But she really liked this Sweeney Todd revival. 

For all of its brilliance, Sweeney Todd still isn't the easiest show to sell. The fact that the producers, creatives and performers are pulling this off is an impressive feat. Maybe the early enthusiasm fades, but I considered myself lucky to get a chance to experience it.

[JasonC3]

Posted: 3/20/23 at 6:10pm

Oh please.  It is not hard to sell (at least the first few months) of Sweeney with Groban, Fisher, and Matarazzo to attract their respective fans and the remaining cast to catch Sondheim and Sweeney fans.

[perfectpenguin]

Posted: 3/20/23 at 6:17pm

JasonC3 said: "Oh please. It is not hard to sell (at least the first few months) of Sweeney with Groban, Fisher, and Matarazzo to attract their respective fans and the remaining cast to catch Sondheim and Sweeney fans."

Speaking for me and only me, I fall in to a different group - generally curious about this production. Could care less if any of the names are there when I’m at the show, not a huge Sondheim fanatic, and have no previous encounters with Sweeney. 

[sm33]

Posted: 3/20/23 at 6:37pm

binau said: "O nthe other hand, Josh Groban could possibly have the most musically satisfying and beautifully sounding Sweeney Todd ever. I would say he is less of an actor than his understudy, but serviceable and actually probably more fitting the tone of the production for me than Christopher’s more realistic contemporary take that to me feels like it belongs more in an avande garde European off Broadway staging than this more standard interpretation. Also, given the mammoth nature of the score I don’t want to downplay how important Josh Groban’s musical contribution is - it’s this sound that in my opinion brings the magic and x-factor to the whole production. AND in terms of acting, intensity - I can’t wipe the memory from my mind of the intense, dissonant drones coming from his mouth during ‘Epiphany’ and to be able to use sound in this way will be far more impressive and powerful for me than someone who can hypothetically scream through the song. I cannot wait for the cast recording and Josh will certainly fill a needed gap in the cast recording cannon/break new ground."

I'm saying!!! His voice is absolutely incredible for this part, his "Epiphany" blew me away. I also cannot wait for a cast recording. 

 

[bear88]

Posted: 3/20/23 at 7:52pm

JasonC3 said: "Oh please. It is not hard to sell (at least the first few months) of Sweeney with Groban, Fisher, and Matarazzo to attract their respective fans and the remaining cast to catch Sondheim and Sweeney fans."

Did you just skip over the paragraph where I praised the shrewdness of the producers and director Thomas Kail for casting Jordan Fisher in the first place? 

The producers' goal is to create excitement around the show - to make it a must-see event regardless of reviews and awards, so it doesn't end up like Company, another recent Sondheim revival lauded and decorated with Tony Awards that closed soon thereafter.

That's the fate of most Sondheim revivals over the years. It was the fate of most Sondheim musicals when they first came out, including the original Sweeney Todd. Maybe it will be the fate of this one too. And casting Josh Groban isn't a guarantee of anything, or else Great Comet would have done a lot better. This isn't like hiring Hugh Jackman to star in The Music Man. So we'll see how it plays out.

It's not easy producing a moneymaking Sondheim musical - especially one with a big budget like Sweeney Todd. There is decades of evidence that it's difficult. All of these decisions by the producers and director Kail are important to determining whether this is an expensive passion project or a commercial success that introduces the show to many more theatergoers.

Updated On: 3/20/23 at 07:52 PM

[BCfitasafiddle]

Posted: 3/21/23 at 4:04pm

Seems that Nathan Salstone is going on in one of his understudy tracks tonight. He covers both Anthony and Tobias. I'll be at the show tonight, was hoping to see the full company. However, will report back with who is on for who, etc.