Sweeney Todd: The Demon Barber of Fleet Street

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Of the four productions of this Sondheim/Wheeler masterpiece that I have seen over the years, this was probably the most musically satisfying. The 26-piece orchestra led by Alex Lacamoire (Hamilton) gives the wonderful score its due and the voices, led by Josh Groban’s (Natasha, Pierre & the Great Comet of 1812) velvety baritone, are all a joy to hear. Fears that Groban did not have the gravitas for the role were totally misplaced. His Sweeney is a creditable creation. Annaleigh Ashford (Sunday in the Park with George) finds more humor than menace in the role of Mrs. Lovett. Some of her physical comedy is inspired. Gaten Matarazzo (Dear Evan Hansen) is a top-notch Tobias. Ruthie Ann Miles (The King and I) brings depth to the small but key role of the beggar woman. Maria Bilbao and Jordan Fisher sing the roles of Johanna and Anthony beautifully, but I found their characterization a bit wan. Jamie Jackson, John Rapson and Nicholas Christopher are fine as Judge Turpin, Beadle Bamford and Pirelli respectively. My main disappointment was in the scenic design. Mimi Lien (Natasha, Pierre & the Great Comet of 1812) has an arched bridge crossing the stage that serves as a multitude of locations including Sweeney’s barbershop and Judge Turpin’s home. When Sweeney is at work, the bridge location distances him from the audience. There are no props or even a projection to suggest the judge’s home. The production uses Natasha Katz’s (Some Like It Hot) dramatic lighting rather than images to set the locations and the mood. Emilio Sosa’s (Trouble in Mind) costumes are apt; Mrs. Lovett’s wardrobe reflects her improved circumstances as the story unfolds. The choreography by Steven Hoggett (Harry Potter and the Cursed Child) features tight unsettling groupings. Director Thomas Kail (Hamilton) keeps things moving smoothly most of the time, but there are a few spots where the narrative seemed rushed or muddy. I found my attention wandering occasionally during the long first act. I had been forewarned to expect an intrusively enthusiastic audience, but that turned out not to be the case. The only distraction was the temperature of the theater; there was a cold draft throughout the play that kept me in my coat. Despite that discomfort, it was an afternoon well spent. I can recommend it warmly. Running time: two hours 45 minutes, including intermission.

The King and I ****

Lincoln Center Theater has revived this Rodgers and Hammerstein musical in a lavish production directed by Bartlett Sher. While it doesn’t reach the dizzying heights of his “South Pacific” at LCT, it is still very good indeed. It should come as no surprise that Kelli O’Hara is superb as Anna. Ken Watanabe, with the unenviable task of playing a role virtually owned by Yul Brynner, acquits himself quite honorably. Ashley Park and Conrad Ricamora are fine as the young lovers. Ruth Ann Miles is an exemplary Lady Thiang. Paul Nakauchi is good as the prime minister, as is Jon Viktor Corpuz as the young prince. The children could not be any cuter. Xiaochuan XIe is excellent as Eliza in “The Small House of Uncle Thomas” ballet. Christopher Gatelli’s choreography, based on Jerome Robbins’s original, is quite good. The costumes by Catherine Zuber are very attractive. I have mixed feelings about Michael Yeargen’s scenic design. The arrival of the ship in Bangkok harbor is quite a spectacle, but his treatment of the palace is unconventionally bland. Except for ornate carvings on the pillars, the set is extremely plain, dominated by an ominous grey wall across the back. I thought the wall symbolized how cut off the palace was from the world, but then it lifted briefly for no apparent reason during the second act. The music retains all its appeal and the plot still tugs at the heartstrings. While I think about 10 minutes of judicious cuts would be a good idea, the length isn’t really a problem. It was a treat to see it again so lovingly produced. Running time: 2 hours 55 minutes including intermission.