Lunt-Fontanne Theater, 205 W46th St

Review: Mary Scott

“Who is Josh Groban?” I ask myself as I search the internet for last-minute show tickets this holiday week. Should I hold out to see Sweeny Todd until Sutton Foster (Younger) joins the cast on February  9th? An ode to Steven Sondheim in memorium nonetheless and having never seen Johnny Depp’s movie version nor the operatic Barber of Seville, I’m expecting a theatrical spectacle that is hopefully not too grotesque.

When researching seat selection, I wanted something more than fine with clean sight lines. A quick scan of Reddit led me to either Orchestra F for unobstructed views of the “pie counter,” “The crane” and “the bridge” or Front Mezzanine. I chose the latter to avoid the chance of any blood splatter. 

An hour after strategically securing my seat, I got a text from Broadway Direct (also try TodayTix for discount pricing) informing me that Annaleigh Ashford would not be headlining this evening’s performance. I had until 7 pm to return the tickets. And who is Annaleigh Ashford anyway? I google her understudy, Jeanna de Waal (Kinky Boots), and decide to forge ahead.

As I make my way uptown, I post a pic of me in my slinky one-shouldered scarlet knit two-piece skirt set with cut-outs: get ready Josh Groban. The Demon Barber of Fleet Street has met his match. 

As the curtain opens, the audience is loving every minute, being especially forgiving of Groban’s laughable (for the wrong reasons) acting skills, which were on full display in any of the scenes with his beloved barber shears. Every time he beheld the shining blade, launching into an empty refrain as he stared off into the distance, I rather wished I was watching Liev Schreiber in The Public’s Macbeth from Shakespeare in the Park several years back uttering, “Is this a dagger see before me, the handle toward my hand? Come, let me clutch thee.”

I spent the entire first half shielding my eyes awaiting the bloodshed. Was I thinking of Faust at the Metropolitan Opera, stage and actors alike soaked in blood??? I went to visit the merch stand at intermission anyway. Why don’t they have any white blood-spattered Sweeney Todd t-shirts? 

When Mrs. Lovett finally enters the stage, it becomes clear who the real star is. Hilarious in every scene, I can’t imagine watching it, let alone enjoying it, without Jeanna de Waal’s comedic tour de force. Where Groban struggled to convey any emotion through his superb vocals, Jeanna used both physical comedy and comedic timing to equal prowess, all seamlessly integrated with her deep pipes used to expert effect in every song and dance number. She shines deliciously in the ensemble pie scene, with Sondheim’s most famous number from the musical, “God that’s Good!” It’s no surprise Jeanna’s Mrs. Lovett stole the show, dominating in every scene.

Also deserving a mention is Sweeney Todd’s poor daughter, Johanna, played by a melodic and refreshing Maria Bilbao. Her sweetness combined with cognizance serve as stark contrast to her two would-be suitors/captors. Her vocal excellence and dramatic timing are showcased in Kiss Me (Parts I and II) as she is caught between her ward and Seaward—both options equal death. In medieval fashion, she chooses bedlam.

Time’s Up in more ways than one on this show. Not only is it demeaning to women, but clearly it got it’s choreography from Thriller. No wonder Sweeney Todd hasn’t graced a Broadway stage since the 80’s. In summation, Groban has got to go, but Jeanna de Waal makes cannibalism cool. Give it a try if Hamilton is sold out across the street.

Joe’s Pub, 425 Lafayette Street: Through Dec 31, 2023

Review. Mimi Jacobs

“We’re done with white man misogyny in 2024.” -Sandra Bernhard

Bernhard (POSE, American Horror Story, Roseanne) opens with a bang, belting a tune down in Mexico. Who knew she could sing? Is she just going to sing-shout at us for 2 hours?

Costumed in a printed lavender duster with feathery fringe and bell bottoms set, she knows her influences and trends as she channeled both the 60’s/Early 70s and the MiuMiu collection now available a few blocks away at the Soho location (check the denim version here.)

The best parts were her comedic interludes, (“I’ll have the microagression greens, please,” she utters during the 7:30pm pub Dinner service), until she warms up her vocals by mid-show. Replete with pop-culture references from all eras, her stand-up routine is simultaneously current and nostalgic, self-deprecating and intimate. She confesses that she wrote all new materials for this show after her prior tour. She gives us real-life anecdotes about Barbara Streisand (“There’s only room for one Barbara. You’re never gonna make it kid”) before she launches into “People” from Funny Girl. 

I credit her for the best tribute cover to Tina Turner of the Beatles, “Help!!” I wish I had filmed it and will be back before her show closes just to hear it again-and I’m not even or perhaps because I’m not even a Beatles fan. 

After her bit about inappropriate trending gifts  the women at my communal table exchanged:

“Good thing we didn’t give each other vibrators.”

The live band is a stand out. Jazz standards plus their rendition of Eminem’s “Lose Yourself” is unrivaled.

Sold out that night and replete with ardent fans doling out generous cheers and authentic gaffaws, plus a standing ovation at the end, far out easy listening for sure. And she stayed after the show to sign t-shirts shirts (cash only $40 each with a variety of colors fun custom prints from which to choose)!! Sweet. Welcome to Sandyland.

Review. Mimi Jacobs

“People are attracted to that which moves away from them.” Plotline

The Set

The smooth scene changes between Venus’ world and the climate ravaged earthly desert   were cleverly done with a mere switch of the lights and made me realize why this year’s opening night was plagued by climate change protesters. Prior to opening curtain, I lamented missing all that action that seemed to be the main attraction accordingly recounted in OperaWire. But in this performance, all the high drama was on stage. 

Prelude 

The opening prelude was an entire opera in itself. With the violins reaching a titillating pitch, the orchestra working the cords like John Mayer in Your Body is a Wonderland (and to similar effect) as the curtain rose on the opening scene. When the trumpets sounded in climax I almost cried out in ecstasy, err I mean cried. The crescendo aptly leads into the opening orgy, née ballet scene. Think of the recent film Midsommar crossed with Suspiria. 

Act I 

A bunch of people shagging in their nymph gear. 

Act II

The original Eurovision sound contest! Complete with the winning contestant and heartthrob being canceled!

Act III

Will it be a happy ending? Surely not. It’s all going downhill. Short, sweet and tragic. Worth sticking around, if not just to catch the few bars that inspired The First Noel.

The Scene

The Saturday matinee surely draws a different crowd than my usual Fridays Under 40 with a feast of women in furs and face masks replacing the Gen Z art school crowd.

Clocking at 4.5 hours, the two 30-minute intermissions were just what the doctor ordered and lend this day at the opera a house-party feel in a grand setting.

Although this was the final performance of this production at the Met this season, it is worth a visit whenever this opera comes to a stage near you.

And let’s not forget why we’re purportedly here…?! The Music 

Tannahäuser has all the goods and (and the goddess): Tremendous choral ensemble with voices soaring to the Gods; expert strings, wind, and brass sections abounding with the plot-centric harp making an appearance as an early leitmotif; and, of course, fat ladies singing.