A descent into madness, mayhem and mischief in yet another revival of Hugh Wheeler and Stephen Sondheim’s brilliantly macabre musical. I have seen many versions of Sweeney Todd: The Demon Barber of Fleet Street both on and off Broadway (and the film too). The element of surprise is long gone for me despite its still effective horror. The book, score and lyrics, however, remain stunning.
This production is definitely not my favorite staging but there are numerous highs to savor. Josh Groban and Annaleigh Ashford play the title character and Mrs. Lovett, that clever baker of meat pies. Mr. Groban’s Sweeney is perhaps the most introspective I have seen. Controlled anger in combination with an always burning lit fuse makes this a nicely uneasy characterization. Of course he sings beautifully if not quite as chill inducing as others.
Romantic entanglement between the central characters have always been part of the storytelling. This duo dials up the heat establishing sex as a major driver bonding them together in a relationship of convenience. This Mrs. Lovett is overtly satisfying her carnal desires.
Ms. Ashford is a goofy yet calculating Mrs. Lovett. This comedienne actress lands all of her jokes and makes her trademark faces which lighten the mood. This revival clearly elevates the musical comedy elements. When Mrs. Lovett pauses for a moment to consider the nightmare she has immersed herself into, however, the terror expressed is intense. A scene where she observes the action sitting on a staircase underscores the impending dread.
How do two people make “A Little Priest” feel fresh and funny? These fine performers ham it up nicely. The evening I attended Ms. Ashford took a tumble off the table. The fall, subsequent tumbling and hijinks had the two of them laughing and attempting to stay in character. The audience was in stitches and the bit seemed cleverly executed. A week or so later I saw her on Seth Meyers’ late show where she mentioned this unplanned mishap. The “mistake” was hugely memorable and reminds us of the joys of live theater.
Other accolades must be given to a pitch perfect Johanna (Maria Bilbao) and her suitor Anthony (Jordan Fisher). Their chemistry was excellent. I saw understudy Felix Torrez-Ponce play a very fine Tobias. Nicholas Christopher’s Pirelli was the best one I have ever seen. Judge Turpin’s “Mea Culpa” has been cut and not missed.
So what’s holding this version from being superb? Ruthie Ann Miles’ Beggar Woman is bizarrely aggressive in an unique but oddly maniacal portrait. The tale fails to deliver on its melancholy as a result.
Sweeney Todd is being presented with its original full orchestra for the first time since the original. I sat in Orchestra Row H and had to strain to hear the music and often the lyrics. Hopefully the sound design was fixed by the end of previews.
The set is big, dark and looming. It is also annoying. The upper area which functions both as a bridge and the barbershop has poles. When Sweeney is giving a close shave, he and his victim should not be blocked from view. Why Mrs. Lovett’s lowly pie shop transforms so unbelievably for Act II is anyone’s guess.
Steven Hoggett’s choreography is recognizable. “The Ballad of Sweeney Todd” was particularly interesting. There are other moments where bodies move around which are distractions. The talented Thomas Kail directed. There was an obvious effort made to return Sweeney back to a grand large scale Broadway vehicle. Some storytelling got lost in the tinkering and a flatness in overall tone is evident.
In the final song, composer Stephen Sondheim asks us whether we “gave a nod” to this killer. What I loved about this version were the last seconds of the show. The fate of evil is abundantly clear. An imperfect Sweeney is still enjoyable as a theatrical masterpiece within the Broadway canon. There are far worse pies currently on stage right now.