In a Broadway season that might be remembered for a lovely, pared-down minimalism – the intriguing starkness of A Doll’s House with Jessica Chastain, the less-is-more near-concert-style…
‘s Kail, who has perhaps never been so adept at combining grand theatricality with pin-point attention to even the smallest character detail. He’s assisted by choreographer Steven Hoggett, whose indelible work onSweeney
an unstoppable momentum through movement, with the large ensemble of Victorian townsfolk twitching and jerking in unison one moment and separating into a sort of synchronized chaos the next. Nowhere is this coming together of direction, choreography and ensemble performance more thrilling than with the musical number that opens Act II: “God, That’s Good!” has the townsfolk filling the newly popular pie shop at the center of this grisly story, seated “Last Supper”-style at the counter of Mrs. Lovett’s eatery, their orgiastic expressions of delight mixing with fleeting, zombie-like convulsions – they’re eating their fellow Londoners, after all, whether they know it or not.
Meeting Groban’s performance every step of the way is Ashford , beautifully shouldering most of the musical’s comedy elements – her timing is beat-perfect, her Cockney accent a treasure – and her superb vocals blend so well with Groban’s that we’re left hoping for an album of show tune duets as a follow-up to the inevitableSo the story progresses.
A subplot concerns Sweeney’s now-marriageable daughter Johanna and her secret beau Anthony (the appealing
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