Groban & Ashford in SWEENEY TODD On Broadway - Reviews & News Thread — Page 42

Reading through all of the reviews is fascinating because many critics identify problems, or things they didn’t like, about the revival. But they just didn’t agree on what they were and thought the revival was good overall. That’s not dissimilar to some of the mixed responses on this thread, except for the people who were very disappointed. (Full disclosure: I liked the revival and would recommend it, but I did think it was flawed.)

Some factors (and I’m just spitballing here so nobody should take the following too seriously):

- Critics get good seats. I noticed that commenters with better seats liked the revival more. Not everyone, but I thought there might be a pattern. There was more praise for the orchestra and less criticism of Annaleigh Ashford’s occasional difficulty being understood, for example.

- No one wants to trash a Sweeney Todd revival. It’s a great musical and a big event, what with the much-hyped full orchestra and big-name talent involved, and the audience was electric. There was one outright pan (in Bloomberg). There were a few mixed reviews, but even those critics found plenty to highlight. Variety’s review was a love letter to Ashford and her gifts for physical comedy. Most reviews praised Josh Groban’s singing.

- Critics aren’t necessarily purists, and even if they are, know they are writing for a general audience. Peter Marks of the Washington Post, like many critics, is a big Sondheim admirer. But I thought he pulled his punches a bit. After grumbling about the difficulty of understanding some of Sondheim’s lyrics, he wrote it off as a sound design problem that will be fixed, or just an audience enthusiasm problem. Maybe it can’t be fixed, as someone suggested in another thread, because the sound designers have done all they can. 

- We’re all just too picky. Ashford’s lengthy floor spins were a problem for me in ‘A Little Priest, not just because they distracted from Sondheim’s wordplay, which is supposed to build in hilarity, one job title after another, but because the song is so important to the story. Everything has to stop for too much physical comedy, including the orchestra. Ashford isn’t freelancing. This is director Thomas Kail’s choice. But by the very end of the song, Kail and the choreographer and the orchestra end it all with a terrific flourish and the audience explodes. Maybe you can’t screw that song up, even if I didn’t like some of the choices along the way. Same with the entire revival.

Updated On: 3/28/23 at 01:59 AM

Anyone ever sit in center Orchestra Row B?  I heard the stage is high.  is it a neck strain to sit there?

A friend sat in orchestra row B center at the first preview. She said she missed some action on the upper platform, and had to crane her neck a lot for those scenes. She loved the show and the experience, but hated how much she had to look up.

Updated On: 3/28/23 at 10:15 AM

My very good friend and Josh Groban fanatic won the lottery for a sunday matinee -- We were front row - dead center - directly behind Alex Lacamoire.   We sat on boosters because we are both short but I don't know how much they helped.  We definitely couldn't see anything that happened on the ground so I know we missed some very important stuff near the very end -- which is very very unfortunate.

That said, having the group performances so close to us and JG and AA right above us -- was something else and almost took my breath away.  She already has tickets for another night in row N that will be a perfect view but she asked all of her friends to play the lottery because she couldn't wait.. and ultimately, she's the one who won.

Besides not being able to see everything, the sound was tough due to the amazing band that is right in front of us.  We had to strain to hear the talking parts and some of the lower sung parts.

https://youtu.be/plsZYpr_f7Q

I hope to see it again.

I didn't realize this show is dark on Tuesdays and got very confused when I saw Jordan Fisher during the intermission of Parade.

Definitely money well spent jast. Don’t forget you can always get a booster too and you won’t be blocking anyone if you do. I would sit there again though. The seat was really good and to be that close you can really see the barber scenes in act 2 very well. The blood looked very real. 

Hi. I've been lurking for years. This is my first post. People have different reasons for attending first previews but I'd only do it for a Sondheim and willing to forgive flaws. I saw the 06/14/2022 "Company," which was technically not the first preview but the first performance post-COVID and it was a lovefest. Especially when Mr. Sondheim made his entrance and sat a few seats away from me. I saw it post-opening as well and the book flaws and other issues were more apparent.

I loved the first "Sweeney" preview despite the flaws. And loved it even more today. Crowd was well-behaved but enthusiastic with applause. No hummers or tappers around me. Started about 2:05 and got out about 4:55. The lines for the restrooms clearly extended the intermission. Sound was great. I recommend mid-Orchestra far-right seating. You see clearly Johanna stage-left and all the goings-on to the right. I think "City on Fire" was originally done far-right but they've moved it to the center. 

I loved the whole cast. The dance movements bothered me less and I appreciated the "God That's Good" choreography more this time around. I also enjoyed Ashford more. She's playing Lovett as sex-crazed and you can imagine all the mugging is not for us but because the character is going bonkers in her own mind. Never enjoyed "By the Sea" more. At the first preview when Ashford tried to jump onto the table during "A Little Priest" it sure looked to me that her missing it was not intentional and Groban, as Groban, motioned for her to try again and she succeeded. Crowd loved it. She missed again today and I think they added it to the show. Looked intentional. More blood. Weird that in one of her interviews Ashford mentioned that extraordinary whistle at the top of the show when there is none. They've improved the staging of Turpin and Beggar Woman appearing in the bakehouse without it being the two of them just walking in. I think they added more to Toby's exploration of the bakehouse workings. Thankfully, they fixed the hinge so the door doesn't look like it's about to fall off . "Parlor Songs" with the three was gorgeous. 

There's always been talk if Sweeney and Lovett were having sex but  "We shouldn't try it though
'Til it's legal for two" strongly suggests not. Also, their whole "By the Sea" interaction

One thing I never understood. Toby's final entrance. 

Again, I'm a newbie and appreciate everything I learn here.

Updated On: 3/29/23 at 09:20 PM

Thanks. I mixed up the date with the second performance I saw.

I had a grand time yesterday and highly recommend this show.  I thought the entire cast was excellent except Jordan who I feel is miscast. I was in Orch B on the side which is very partial view and missed much but it was thrilling to be so close to facial expressions and the pit.  I will have to get back again to take in the full picture and really feel the choreography.  Such a masterpiece.

Yes side Orch left which had same extra legroom.

If anyone happens to know how to get a hold of thoroughlymodernbilly, please let me know. I saw in the Buy/Sell they had two tickets for next week and I was interested but haven't heard back in several days. Figured it wouldn't hurt to ask. Thanks!

Saw the show on Wednesday night... all leads on that evening.

My Sweeney background... First saw it in 1980 - the original London production with Dennis Quilley and Sheila Hancock (featured in the great documentary about the London production - track it down if you haven't seen it!), followed by additional Sweeneys and Lovetts including Timothy Nolen (tremendous), Gregg Edelman (love him.. but not a great match for Sweeney), (Baby/Dainty) June Havoc on the 2nd national tour and the quite excellent Liz McCartney, among others.

• Sat in Row C of front mezz on house right far aisle (the stage tower side). Close! Excellent sightlines for 99.9% of the show
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• The much-publicized 26 piece orchestra was large and full and at times almost thunderous - but still a bit muddy sounding (especially vs the similarly large, crystal clear Camelot orchestra in the Vivian Beaumont's thrust theater). I was also glad I knew the lines or gist of them in 2nd act - as Lovett was hard to hear in some quieter scenes on house left - but that may have been just me.
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• The much commented on choreography/movement - which I won't spoil - was interesting - and actually probably added something I didn't know the show was missing. Not sure what they were trying to convey... but it worked for me...
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• The audience was crazy from the first notes... and Groban's entrance - and many seemed not to know the plot/lines/lyrics - judging by the reactions and surprise they showed. The bulk of the audience ate the show up and laughed like crazy... since so much of the direction now sets this up as a comedy - not always even a dark one...Even lines like the Judge's "I hear nothing" during Pretty Woman got BIG laughs, as delivered by Jamie Jackson, set up by Groban.
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• The blood - they must have fixed it... worked just fine for all show - well enough to cause the 2nd act exit of a person sitting behind me who couldn't stand the sight of blood. At Sweeney Todd with bloody poster. Really...
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• The Sweeney entrance/exit - just fine from upstairs. See others' above comments if don't know what talkinjg about - but surely even better from the orchestra.
• Groban sings beautifully. He's an OK actor, but a solid stage presence - and truly leads the show and acquits himself very well, overall - though I never see his character really turn that vengeance corner. His Epiphany climax backed by a blaring orchestra - was chilling.
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• Gaten M as Tobias bothered my wife with his characterization but showed he's an old stage pro and sang well -  to me = very good. 
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• Maria Bilbao as Johanna was a revelation - gorgeous in all ways - and wow can she sing, sing, sing - making Johanna the full - and, as staged, nervous and clearly trapped - character that is sometimes missed... 
• All supporting characters - Jackson (an appropriately lecherous judge), Rapson (humerous Parlor Songs!), Miles (giving the beggar woman a chance), Christopher (slimy Pirelli), et all - were from good to great
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• Jordan Fisher - other than a somewhat weak ending to his first act Johanna - - was a bit too modern feeling for me in the role - and not who'd I"d have cast (I wasn't asked!) -  but was more than OK... didn't help... didn't hurt.
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• and then... Annaleigh... Interesting and creative line readings. A few world class looks and decisions made as the character, before our eyes...  A refreshing and unique take on the role that works well for about 90% of the show - and sings far more powerfully than I was led to believe.. Unfortunately, she counters that - maybe even ruins it -  by taking it a step or two... or three...or FIFTY too far the other 10% of the show - especially in a particular stair scene... and in some unnecessary floor action during a LIttle Priest (which the audience loved and which I severely rolled my eyes at) and in nearly the entirety of By the Sea..I kept imagining the opening night crowd, including originals like Victor Garber and Len Cariou and what they were thinking when she was doing this way over the top schtick on the Sunday opening night 3 days prior...; (but, again, THE AUDIENCE LOVED IT!)

Liked some of it. really liked some of it...rarely loved it -  but know it so well i hardly laughed and rarely got excited... an 8 out of 10. Maybe a 9 out of 10 with Jeanna de Waal if her take is different - but I do want to see it again if I can.

 

Side note - I wasn't AT opening night (inside) but stood outside and took in the sights, sounds, and stars as they exited the show - my first time at such an event - and sort of enjoyed it, as they say...

 

 

 

Updated On: 4/1/23 at 12:47 AM

hollebolle said: "Just noticed they released a bunch of center orch seats for today’s matinee, some of which are only $250. Is that normal? Made me think someone might be out and those seats were for Tony nominators/voters, but I could be totally off base."

House seats.