The Singles Jukebox has been destroyed by a comet. That’s why we’re posting a bit late for a Thursday.
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[5.00]
Katie Gill: Hey gang, let’s get NITPICKY. Musical theater walks the fine line between songs that have to stand on their own and songs that need context. Something like “Empty Chairs at Empty Tables” is a good song on it’s own right but HEARTBREAKING when put in the proper context. I say all this because “Dust and Ashes” is from the amaaaaaazing musical Natasha, Pierre, and the Great Comet of 1812, in which Josh Groban’s currently starring as Pierre. I also say this because I don’t know if it should be a single. It’s a calculated move! This song was written for the Broadway version of the show: Great Comet already had an off-Broadway cast album, NOT starring Groban, so releasing this as a single shows that Groban can act and shows Great Comet fans what’s going to be added to the show. That doesn’t change the fact that it feels about a minute too long and it’s a little bit all over the place, even for Great Comet’s already erratic score. It’s also interesting because this song sounds like it was tailored to Groban’s vocal range, especially when compared to the vocal range of Dave Malloy, the off-Broadway Pierre who has a voice that sounds like he gargles gravel. Still, it’s wonderful to see Josh Groban, often pigeonholed as this sort of beautiful angelic sad puppy commercials voice, give this song some MEAT: the way he desperately growls “bury me in burgundy” is amazing. I suppose this is a long rambly sort of rant to say that aside from my love of Groban and his voice in general, I honestly have no idea to parse this song as a SINGLE…which is one of the reasons why I selected this as my amnesty week pick in the first place.
[7]
Brad Shoup: Well, I’m stuck with “this is how I die” as a mental motif for a few days. Everything is — to these unwashed ears — a holding pattern until the galloping climax, just lots of pristine enunciation and exhortations to consider if you’ve ever really lived. There’s also a smack of New Orleans jazz, but — as usually happens with this subgenre — it’s there for color, not flavor.
[4]
Katherine St Asaph: Disclaimer: My score is docked because of the stories, from a disquieting amount of people, that Josh Groban is a manipulative pustule IRL, and if that’s unfair, deal. Not that there’s much he can really do either way; “Dust and Ashes” is a newish Broadway piece, and its flaws are more representative of medium than artist — over-polite piano recitative, strings carefully rationed in fear of the dread Lloyd Webber comparison, unfortunate attempt at growling and jazz for “modernity.” Groban, meanwhile, isn’t the first tenor nonentity on the stage.
[3]
Juana Giaimo: Many times I complain that artists are melodramatic on their singles, but I can still enjoy musical theatre, probably because there, they fully embrace the drama, instead of just giving hints of it. “Dust and Ashes” is a clear example of this: it starts with a lonely trembling voice, as if longing to be heard. The spectacle then grows and the drums and trumpets come in while Josh Groban sings about abstract concepts such as love, death, happiness and life. However, they aren’t empty because they are joined to a narrative — the story of a person who saves himself from the depths of his own self. And yes, that needs a lot of melodrama.
[7]
Hannah Jocelyn: They say this is the next Hamilton, because as groundbreaking and incredible as that musical is, it’s seemingly forced the entire history of musical theater out of existence. I’m not immune to this – Upon listening to “Dust and Ashes”, I realized 3 fundamental truths at the exact same time: 1. Josh Groban dramatically singing the words “clown shoes” is hilarious, 2. I don’t even need to hear the whole soundtrack to know he’s deeply miscast in what’s supposed to be a quirky “electro-opera”, and 3. He should stick to better-than-it-has-to-be popera, or even write his own musical of better-than-it-has-to-be popera. Ironically, it would just earn comparisons to the other crossover history eraser, Waitress. (Did Book of Mormon or Wicked just not ever happen? Chicago? Avenue Q? Spider-Man: Turn Off The Dark?)
[5]
Edward Okulicz: I’m partial to a well-made, corny, camp musical but I cringe at trembling passing as acting, and that’s all this is to me.
[3]
Ramzi Awn: The secret behind Josh’s voice is his personality. He gets the job done on “Dust and Ashes” in fashionable Disney form, hopeful instead of sad. It is his own authenticity that makes the song a success.
[6]