ljay889 said: "I’m not convinced Jordan’s keys were lowered. Someone said this a couple weeks ago, and this past Sunday when I saw the show, Fisher was 100% singing in the original keys."
Anthony is actually a baritone role. It’s often played by a tenor, and “Johanna” often is brought up to a higher key, so that might be the confusion. As written, the song only goes up to an E4 I believe. I’m guessing Jordan is simply singing it in the original key but people are used to hearing it higher.
The Distinctive Baritone said: "ljay889 said: "I’m not convinced Jordan’s keys were lowered. Someone said this a couple weeks ago, and this past Sunday when I saw the show, Fisher was 100% singing in the original keys."
Anthony is actually a baritone role. It’s often played by a tenor, and “Johanna” often is brought up to a higher key, so that might be the confusion. As written, the song only goes up to an E4 I believe. I’m guessing Jordan is simply singing it in the original key but people are used to hearing it higher."
Yep, another poster mentioned this in the other thread. I believe this is causing the confusion. I love it sung in the original Garber key.
I need to see Groban (and intend to on Sunday if he is back) to fully understand the production, acting vs directorial choices etc but my first impression is that Nicholas Christopher is giving quite a different, almost naturalised take on Sweeney. The tone to me feels a bit like take a highly respectable actor with pristine vocals - someone perhaps like a Raul Esparza - and see what they can do with the role. It’s the kind of thing I could imagine starting in an avant garde off-Broadway revival from a famous/infamous European director set in modern times and becoming a viral success. His Sweeney is very sexy (in a way that feels unintended/effortless) and the chemistry with Ashford feels quite real - I’m having a hard time imaging Groban could possibly bring this kind of sex appeal but I will see.
I’m not sure if it fits the tone of the rest of the production though, which to me feels otherwise very safe. It’s like the purpose of the production is to most inoffensively stage Sweeney Todd in a way that both honours the material and appeals to modern sensibilities. Perhaps as a way to pass down Sweeney Todd to the next ‘Hamilton’ generation and define what the show feels and sounds like in a modern age. And in that regards perhaps it’s a terrific success. But this production seems to be lacking thrills and innovation.
As for Ashford, given the brief of production she is a perfect fit. Contrary to others I think she does not employ her usual shtick much in her vocal mannerisms either speaking or signing, for example. Vocally she actually seems to really do a lot of justice to the melodies in the show that others will throw away in the way of acting (I guess fitting with the inoffensive tone). And I just love everything she is packing into the role from the humour, sexiness, sinisterness etc. Act Two also started to elevate things (eg By the Sea and Not While I’m Around) it’s the closest to me of feeling she could snag a Tony, though ultimately I’d still give it to Victoria Clark (seeing Parade tonight).
Also, don’t even get me started on the accents in this production. So many are all over the place haha.
"You can't overrate Bernadette Peters. She is such a genius. There's a moment in "Too Many Mornings" and Bernadette doing 'I wore green the last time' - It's a voice that is just already given up - it is so sorrowful. Tragic. You can see from that moment the show is going to be headed into such dark territory and it hinges on this tiny throwaway moment of the voice." - Ben Brantley (2022)
"Bernadette's whole, stunning performance [as Rose in Gypsy] galvanized the actors capable of letting loose with her. Bernadette's Rose did take its rightful place, but too late, and unseen by too many who should have seen it" Arthur Laurents (2009)
"Sondheim's own favorite star performances? [Bernadette] Peters in ''Sunday in the Park,'' Lansbury in ''Sweeney Todd'' and ''obviously, Ethel was thrilling in 'Gypsy.'' Nytimes, 2000
He's currently scheduled to be back tonight. I'm sure they'll make an announcement ASAP if he'll be out again.
A Chorus Line revival played its final Broadway performance on August 17, 2008. The tour played its final performance on August 21, 2011. A new non-equity tour started in October 2012 played its final performance on March 23, 2013. Another non-equity tour launched on January 20, 2018. The tour ended its US run in Kansas City and then toured throughout Japan August & September 2018.
I saw the original production way back when and immediately bought tickets when this was announced. I was disappointed that Groban was not on, however Nicholas Christopher did a lovely job and I liked his slow boil until Epiphany. My husband and I saw it with 10 of our friends. My husband hated it. The others liked it, but the consistent complaint was the sound was too low and they could not make out 50% of what was said or being sung. I have to agree, it also bothered me, and by now should have been worked out. The camera man on house right was right next to my seat. I asked why they were filming and he said they were set for B roll but with Groban out, they were going ahead and doing it because of the contract for their services was already signed, but would be back again. I loved Ashford’s new and clever take on Lovett and the choreography of the chorus. Jordan’s performance left a lot to be desired. He is the weakest link in the show. The worst thing was during the bake house scene, the Jonas brothers were leaving their concert at the Marquis and the screams happened right at that time and were literally drowning out the actors on stage. I do want to come back and actually see Groban. I will leave my husband at home.
Glad to read your thoughts, binau. I think Christopher being a very attractive man is probably adding to his sex appeal in the role.
Groban is not sexy in the role, but he and Ashford have several flirty and sexually charged moments. Especially in “A Little Priest” you can feel Groban’s Sweeney desiring Lovett sexually because of her brilliant idea.
The Groban/Ashford duo was the first time I actually believe they were living together as a domestic couple and sleeping together. I know it’s always been implied, but this time it’s fully believable.
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Also, the moment before Sweeney pushes Lovett into the oven is the most intense I’ve seen with Groban/Ashford. Groban is so forceful in this moment.
ErmengardeStopSniveling said: "Anyone see Jeanna as the BW? I have no doubt she killed"
She was great! Amazing sense of physicality and character for such a last minute performance. And she sounded lovely. I really can’t wait to see her take on Mrs. Lovett.
OhHiii said: "Been looking for a way to articulate my gripes with Annaleigh’s performance and you hit the nail on the head. She ventures into slapstick far too often. Sweeney Todd isn’t a farce and the humor is baked in, it doesn’t need to be embellished SO much."
Agreed, the pratfalls and that 360 degree spin on the floor (twice no less) was cringe.