‘Sweeney Todd’ Review: Josh Groban and Annaleigh Ashford Lead a Soaring but Remote Sondheim Revival on Broadway

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‘Sweeney Todd’ Review: Josh Groban and Annaleigh Ashford Lead a Soaring but Remote Sondheim Revival on Broadway
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The cannibalist startup in “Sweeney Todd” kills two birds: For Sweeney, the ruined barber who holds a grudge as steadily as he does a blade, it means turning enemies into actual mincemeat. For Mrs.…

, proves a magnificent showcase for their respective, jaw-dropping talents. Groban’s weighted-blanket baritone makes the prospect of reclining in his company and never waking up again seem like a great way to go. And Ashford’s fleet, agile instinct for comedy, which earned her a Tony Award for “,” is like a dippy bird for dopamine. But only one of them is a genuine thrill.

Kail’s production has an austere severity that’s suited to serial killings but also makes it feel coolly remote. The Lunt-Fontanne Theatre is cavernous; Mimi Lien’s soaring sewage tunnel set emphasizes its proportions, which make a stunning canvas for the shadowy grandeur of Natasha Katz’s lighting design. The Turneresque backdrop even suggests an element of the sublime, when lone figures dwarfed by their surroundings are led to contemplate the meaning of life.

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