Groban & Ashford in SWEENEY TODD On Broadway - Reviews & News Thread — Page 39

In this day and age there is absolutely no excuse for a show on Broadway to consistently have sound issues.

ANewBrainn said: "I think I saw Jesse Green at the show tonight so I'm thinking it's frozen. Everyone was in. Did not really love anyone in the cast. I'd say the cast at the Barrrow Street production was much better, especially Carolee Carmello as Mrs. Lovett. Groban was very unconvincing. His voice sounded "nice" singing the songs but that's not what your need from a Sweeney. I didn't really believe a word out of his mouth or buy him as menacing for a second. Annaleigh Ashford was funny enough and her voice sounded sweet but lacked the power of an Angela or Patti or Carolee. Also Ashford and Groban both read far too young to be playing these roles. I did not believe Sweeney was returning after a long time away he sort of seemed aged to the level he should be before he was sent away.



That being said I really enjoyed hearing the score with a full orchestra and ensemble. The company numbers were excellent. I'd be curious to go back to see Groban's stand by if I could get a cheap ticket. He was really the stand out cast member as Pirelli and the only one who rang "excellent" to me and not just "fine." This production really focused on names as opposed to people who could act the roles on an acceptable level. I wish they found a better balance of people who could bring audiences in an act the roles especially in the role of Sweeney. Also I thought Turpin was one of the better members of the cast but it was weird that it was the same guy from Barrow St except now with hair."

The above is an absolute bullseye review!!!! I couldn't have said it any better.

pdjennings said: "Once again - I continue to utterly baffled by this message board and the awful responses about (well, almost everything) this show. It’s intermission now (Sat 2pm performance) and THIS SHOW IS F**KING ASTOUNDINGLY PERFECT. I am in complete awe."

I'd love for a complete review, but specifically interested in where is your seat and how is the sound?

Just got back from tonight’s final preview. Largely positive experience that I’ll elaborate on more later. The audience tonight was so crazy into the show from the moment the music began. Never seen a Broadway audience this much in love with the material and performers before the first act even begins, Even when applause covered up some of the entrances, it was not particularly disruptive, just a lot of love and positivity coming from the audience. I’ve never seen anything like it. Has that been the audience vibe for the whole of previews?

Piparoo said: "...it was not particularly disruptive, just a lot of love and positivity coming from the audience. I’ve never seen anything like it. Has that been the audience vibe for the whole of previews?"



I saw it last week and, yes, that was the vibe that night. I had assumed it was being driven by Groban fans but perhaps that's not the case.

pdjennings said: "To add on to my initial post about the atmosphere on this message board...
"

Why? Do you really think anyone came to the Sweeney Todd thread to read a three paragraph screed about how terrible this board is? For someone calling others mean, that certainly doesn't seem very nice.

I'm sorry that other people have different opinions from your own. How disappointing for you.

pdjennings said: "I was in the 3rd row of the orchestra, so I can’t speak to any audio issues that might be evident elsewhere — as it sounded absolutely pristine to me. Definitely no microphone issues I could hear. Every single thing about this revival was a complete home run for me. I seriously cannot agree with any of the recurring criticisms in the preceding pages. And it certainly didn’t sound like the audience shared those criticisms either, as this was probably the most roaringly enthusiastic audiences I’ve ever been in (perhaps only bested by the HELLO DOLLY audience from a couple years ago).

It sounds like your audience on Saturday was similar to mine last week. It was an electric atmosphere, ranking with the level of enthusiasm for the Hamilton original cast in my experience. Your seats also were excellent, so any sound issues experienced by people in cheaper orchestra seats - or in the mezzanine - were not an issue for you.

I have observed earlier that the success of this big-budget Sweeney Todd revival will not depend on purists, and have noted that most of the audience will not have seen the 1979 original or its many incarnations just in New York City, not to mention elsewhere. (The only time I saw it live was a local production south of San Francisco a few years ago, which was strikingly good. Interestingly, my wife - the Sondheim skeptic in the family who has only seen the movie but didn't remember it - enjoyed the Sweeney Todd revival with fewer reservations than I had.)

This is a Broadway message board. It's a bunch of purists to varying degrees. And this is Sweeney Todd, one of the most revered and acclaimed musicals in history, written and originally directed by two recently-deceased Broadway legends, Stephen Sondheim and Hal Prince. Everyone has their own ideas about what the perfect Sweeney Todd revival would be. Look at the huge debate over the missing factory whistle. I personally didn't miss it, but I understand why others did and why they feel so strongly about it. That unsettling whistle isn't just a whistle. It sets the tone for the entire unsettling musical.

As someone who liked the revival overall, with the reservations I've described in previous posts, I'm thrilled you loved it and would like to hear more about what you think worked so well. Moreover, I hope it's a wild success, because Sweeney Todd is a fantastic musical and deserves to be seen by as many people as possible. I hope there's a big, successful tour. While I questioned some of Thomas Kail's choices, he's a very commercially savvy director and may have figured out a way to make a big-budget revival of this show profitable.

I'm not going to defend some of the behavior of people on this board, as I've caught some flak recently for not liking an acclaimed new musical, but I will defend the right of people on a theater message board to express their honest responses to a show they paid to see. I'll defend people who were disappointed in the revival as well as those like you who thought it was perfect.

We saw the final preview last night and, as I mentioned above had a largely positive experience. Previously we’ve seen the Doyle revival, the Barrow Street production with Carolee and Norm and at least one or two other excellent productions produced in world class opera houses, Last night, our seats were front row mezz and I can confirm that the sound mix still needs some tinkering in places - at least from our seat location. Ashford’s vocals in the first act were often, but not uniformly too quiet - it almost sounded like she wasn’t projecting during certain passages and seemed intentional. Likewise with Gaten during the final scene of act two.

Despite the volume issues, Ashford really worked for me and the rest of our group. Of course, I adored her in Sunday in the Park as well so don’t share some of the reservations about her performances that I’ve seen others here mention. Her take is a younger, lustier version of Lovett than I’ve seen previously, and Ashford possesses a gift for physical comedy in the same spirit as Lucille Ball.

None of us are particular fans of Josh’s recording career but decided to go in with an open mind. His performance largely worked for us too. His singing is impeccable and his lower range is far fuller than I anticipated. In his acting, he largely plays things by the book - quite solid overall but nothing particularly surprising. I’m okay with that. It would’ve been fun to see from Josh a take on Sweeney that was as different as Ashford’s is on Lovett but I’m satisfied with what Groban brought to the role.

Jordan was great - knew nothing about him going in other than reading some of the negative comments about his singing here. He sang the score very well, full stop and I liked his characterization. His vocal approach isn’t operatic but he nailed every note and sung beautifully. Seriously, I’m not sure where the negativity about Jordan is coming from. He’s quite good.

Maria Bilbao was outstanding as Johanna. That’s a role I always hate. But she has a gorgeous voice and made some of the most interesting acting choices I’ve ever seen from a Johanna. It’s clear that her Johanna has been profoundly traumatized by her experiences before the action of the play even begins.

Despite some, to me, inconsistent accent work - at times she had a Scottish brogue and at times it sounded Cockney, Ruthie was a great beggar woman. She has an incredible voice and nails all the right moments.

Gaten was good. His Tobias was not my favorite ever but Gaten possesses a warm charisma and is a solid singer.

Judge, Beedle and Pirelli were all very good.

The orchestra and ensemble were incredible!

I don’t really understand the movement directions in some of the “Attend the Tale” reprises. If someone can explain what they believe Kail’s directorial intent was there, I’d welcome it. I found the movement mostly unnecessary and, at times, distracting.

Sets, costumes, lighting were all strong if uninspired.

Final thoughts - While Sondheim’s Sweeney Todd is among my top five most favorite shows, I’ve come to the realization that Sweeney may never be cathartic in live performance for me. In every one of the productions I’ve seen, the show has failed to profoundly move me. There is a moment in every production, when Johanna, Lucy and Sweeney are reunited without knowing it - right before Sweeney slits his final throat, that is so, so very tragic and yet, in performance, never lands with the emotional heft that it deserves. It’s tragic in retrospect but not in the moment. If a director could figure out how to give us both, that’s the kind of gut punch I’m looking for as an audience member.

I’m not sure I need to see another production of Sweeney for a while. Perhaps like Hamlet, all of us have a specific vision for Sweeney the play fixed in our minds. For me, that specific vision has never been fully realized on stage.

Updated On: 3/26/23 at 08:11 AM

Piparoo said: "Ashford’s vocals in the first act were often, but not uniformly too quiet - it almost sounded like she wasn’t projecting during certain passages and seemed intentional. Likewise with Gaten during the final scene of act two."

They are definitely tinkering with the sound, because it was the exact opposite at the matinee, where her microphone was hot during Act One, and low during Act Two

Updated On: 3/26/23 at 08:21 AM

pdjennings said: "I read threads of interest every few weeks — and I almost always close my browser thinking the same thing: Why are some of these people so … mean?"

Have you read the Bad Cinderella thread?

Check out the direct responses to your comment and you'll find that, although you mentioned no names, certain individuals immediately assumed you were talking about them.

pdjennings said: "I was in the 3rd row of the orchestra, so I can’t speak to any audio issues that might be evident elsewhere — as it sounded absolutely pristine to me. Definitely no microphone issues I could hear. Every single thing about this revival was a complete home run for me. I seriously cannot agree with any of the recurring criticisms in the preceding pages. And it certainly didn’t sound like the audience shared those criticisms either, as this was probably the most roaringly enthusiastic audiences I’ve ever been in (perhaps only bested by the HELLO DOLLY audience from a couple years ago).

To add on to my initial post about the atmosphere on this message board: I honestly don’t post here very often, despite being a member of the site for 17-ish years or so — but I read threads of interest every few weeks — and I almost always close my browser thinking the same thing: Why are some of these people so … mean? I think my main bafflement comes from the impression that some of the folks here to just don’t seem to enjoy — anything? I mean, for a community that supposedly loves Broadway — a whole lot of people here sound like they barely can tolerate it. (For example, someone earlier in this thread repeatedly referred to the recent THE MUSIC MAN as bad — wtf!? It was a downright terrific revival!)

The criticisms offered of SWEENEY in the thread mostly seem to be nitpicking on one side of the scale — to utter bullying on the other. (Don’t even get me started on the Beanie Feldstein thing!) It’s almost like people are complaining — just to complain. Sure, a comment about a technical flaw, like a faulty microphone is more than understandable — but for most of the stuff I’m reading… it’s almost like some folks are just trying to one up the gripes of the previous poster. How is that being a fan? (I wonder if, perhaps, being in my late 40s, I missed the whole “toxic fandom” boat by a few years?)

Anyway — all this to say that I simply cannot fathom how *anyone* (even someone with only the slightest hint of interest in musical theater) could see what I saw today — and not be completely enchanted, thrilled and gobsmacked by every aspect. This was sheer perfection in my eyes.
"

You know, telling people who didn't find a Broadway performance "sheer perfection" that they are actually bad people is a form of bullying.

Is Ashford STILL singing “I lied cause I loveD you” ??

That did bug me. Sondheim was notorious for being a stickler about notes and lyrics being sung correctly. He was very hard on Patti LuPone various times about notes and diction, I think he would’ve made several corrections in this revival. I do wish Paul or Alex Gemignani could’ve been a consultant to ensure everything is being sung properly.