Sweeney Todd on Broadway: Annaleigh Ashford is Exceptional

I was fairly anxious when Sweeney Todd began at the Lunt-Fontanne Theatre. This has been a favorite of mine, and was my introduction to Sondheim when I was 9 years old and we watched it on PBS. It started late so we’d agreed that we’d watch Act 1 and then go to bed and save Act 2 for the next day. It was agony! 

I’ve seen that PBS version more times than I can count, but I’ve never seen it live! I just felt so lucky that my “first time” was in a Broadway production, directed by Thomas Kail, with Alex Lacamoire conducting, and an incredible company. 

*Disclaimers: I paid for the tickets myself. Jordan Fisher was out for our performance, and we saw the excellent understudy, Nathan Salstone.

While this production doesn’t start with a whistle, the prologue still features the fantastic ensemble, setting the mood. While Sweeney will never be a toe-tapper, the addition of movement, as choreographed by Steven Hogget, enhanced the effect. 

There’s no doubt that Groban can sing this role as good, if not better, than the giants who have previously played the role. What was questionable was whether he had the acting chops. Given that Kail cast him, however, I was hopeful. They’ve clearly collaborated beautifully to create Groban’s Sweeney. He’s almost scarier because his demeanor is less hunched, not a constant frown. More like a sadness that eventually erupts into anger. And his energy and laughter in “A Little Priest,” which is immediately after his beautifully eerie “Epiphany” is impressive. 

Gaten Mattaranzo is pitch perfect as Toby. Not only did he sound great, there was depth in the character’s transition from a naïve boy to his puppy love crush on Mrs. Lovett to the devastated young man in the final moments. 

Let me be clear. Everyone is great. Ruthie Ann Miles (a haunting Beggar Woman), Maria Bilbao as Joanna, and a completely surprising new side to Nicholas Christopher as Pirelli, there's a ridiculous amount of talent on that stage.

And yet, Annaleigh Ashford absolutely steals the show! This was the first time I’ve seen her live, and she’s exquisite. It’s not just her comedic timing, great voice, and electric chemistry she has with each and every scene partner, she includes the audience like no one I’ve ever seen. She’s not pandering, she’s not hammy, she’s just completely there with you and for you. She recognizes the beauty of that one moment in live theatre. I simply could not take my eyes off of her. 

While I’m forever grateful that the PBS version exists, and I will watch it again, this production is what makes revivals worthwhile. There’s no dismissal of what was, but there’s a clear forward progression. I’m thrilled that we’re getting a cast recording of this beautiful production.