Sweeney Todd

Stephen Sondheim’s Sweeney Todd has been given a great deal of exposure in recent years, and I for one can certainly understand why. It is a complex tale of hatred and revenge with comic overtones from some of the multifaceted characters that we love to hate. It offers so many opportunities for good actors and singers.

The set, although used and moved well by cast and crew, did not make the continuity of the show easy. I am a firm believer in ‘less is more’ when it comes to scenery, but with that premise, the pieces used must be able to convey smoothly and quickly the next scene. I liked the use of the gauze and projection during the opening, but felt it quite unnecessary during By the Sea... after all we knew Mrs Lovett was day dreaming about what she wished for, they weren’t actually there.The chair and the trapdoor worked excellently, very well designed and executed...oh, no pun intended! Properties were all appropriate with the exception of the 70’s/ 80s wooden armed sofa... far too modern.

The lighting was good, with spots in the right places at the right time, it was darkly lit (if that’s not a contradiction in terms) which was just right for this sinister tale.The sound was outstanding, I could hear every word. But don’t just thank the sound engineer, the diction and projection by all the principals was also excellent.

Costumes were very good, worn well by the cast and appropriate for the period. Mrs Lovett looked wonderful in both her working clothes and her ‘posh frock’.

I wondered at the rational behind putting the orchestra at the back of the stage. Was it an attempt to ‘modernise a classic show? Did you achieve more stage space?  I personally found the light through the gauze distracting and the sight of the orchestra during much of the show interfered with my depth of involvement with the action on stage...Victorian, dark and sinister melodrama. The difficult music was handled very professionally by the MD and the orchestra which was heavy with brass and organ played harmoniously.

The director had a very good understanding of the dialogue and story and extracted with skill the small amount of humour in the piece.  This is vital to lift the unrelieved gloom. There appeared to be a very competent master of this ship. Well done. The director was fortunate to have a very talented cast and I am sure they brought their own interpretation to their roles. The continuity was good and smooth only occasionally restricted by the changing of some scenery. The pace of each scene was very good. The cuts to the script were appropriate and fitted in well.

Many of this talented cast were (in terms of experience) very young and are to be congratulated on their professional approach and blossoming talent. Others needlessly doubted their ability with Sondheim and proved masterly in their casting. Every member of the cast entered into this story with enthusiasm.  The ensemble sang with gusto, always in place linking the scenes together. I found City on Fire a bit of a muddle, were the cast singing on stage or were off stage singers supporting the on stage movers? Either way it was disjointed and difficult to understand. The small amount of movement in Johanna’s rape scene was performed well and sensitively... well done.

Sweeney Todd was every inch a sinister Sweeney, sometimes too sinister as I missed the black humour coming through, he was often very intense and preoccupied but this added to the darkness of the character. He demonstrated an excellent voice and very good musical timing... a wonderful Epiphany, very well done.

Mrs Lovett... gave an outstanding performance, an outstanding actor and singer, I loved this performance... one of the best Nellie Lovett’s I have ever seen both professionally and amateur!

Judge Turpin...Ugh! This was a slimy, sanctimonious, self-righteous and very good performance. As the Judge he was horribly ‘voyeuristic’ to Johanna but during Johanna I felt I was spying on him. He was musically ‘spot on’ in this most difficult of roles.

Beadle Bamford... played the beadle rather simply, with little to give us much idea of his character, but his voice was good and his acting clear and unchallenging.

Beggar Woman... played a very convincing beggar woman, although certain stage gestures and movement gave the game away early (we could guess that she was Sweeney’s Lucy). I liked her uninhibited raunchiness!

Johanna... a beautiful girl with a beautiful voice and a convincing actor... very well done.

Anthony Hope... a handsome boy with an excellent voice and a good actor, but very nervous... you have much talent, enjoy it.

Tobias Rigg... Well what can I say, A Tobias aged 12, steals all the scenes he is in and has a wonderful future!

Adolpho Pirelli... until I read the programme I would never of guessed this lad was only 17 yrs old. He is an accomplished and talented performer who managed the Italian and Irish accents with ease, very well done.

This show took the first night audience by storm and they loved it. I am certain word will have gone around and by the end of the week you will be filling the empty seats, because this production deserves full houses. Frome Musical Theatre Company... you have lived up to your new name and will go forward with renewed vigour having  presented one of the most difficult musicals, congratulations and thank you very much for a very entertaining evening.

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