Sweeney Todd

There was a customary warm welcome from the Top Box team as we were invited to ‘attend the tale of Sweeney Todd’ in the group’s latest adult production. 

Sweeney Todd tells the story of a murderous barber, originating from the Victorian penny dreadful ‘The String of Pearls’.  This version, based on an adaptation by Christopher Bond and with music and lyrics by the great Stephen Sondheim, introduces a psychological backstory and motivation to Todd's crimes.  So we learned the story of Benjamin Barker, the victim of a ruthless judge who exiled him to Australia and raped his young wife, driving her mad.  Returning to London to seek his revenge as Sweeney Todd, the demon barber soon joins forces with pie shop owner Mrs Lovett, who finds an ingenious (and unpleasant!) use for the victims of Todd’s rage. 

As the titular Sweeney Todd, Paul Mitchell was full of barely repressed anger, as he determinedly pursued those who had wronged him.  This was a strong, well sung and characterful performance, and was well matched by Marianne Midgley’s eccentric Mrs Lovett, who was in many ways as crazed as Sweeney.  She clearly brought out the humour in the role, in particular in act 1 closer ‘A Little Priest’, which was sung with great clarity. 

Harry W and Henry S-H both did extremely well in the role of Tobias Ragg (sharing the part on alternate performances).  Harry W confidently introduced himself with a cheeky ‘Pirelli’s Miracle Elixir’ and convincingly developed his relationship with Mrs Lovett as the play progressed.  Henry S-H held the character throughout the show, also developing a wonderful relationship with Mrs Lovett as the plot advanced.  He came into his own when singing ‘Not While I’m Around’ and as he realised the truth around the pie manufacturing.  These were performances to be proud of, standing up very well alongside those of their elder cast mates.

The high standard was maintained by Callum Wright and Paula Lilburn as the two lovers Anthony and Johanna, singing nicely together and convincing as the lovelorn pair.  Jon Laight took a different approach to the normally straight-backed, formal Judge Turpin, perhaps to emphasise that he and Sweeney are, in effect, two sides of the same coin.  Chris Stroud was ever present at his side as the Beadle who quickly comes to regret taking Todd up on the offer of a free shave!

There were a couple of strong cameos amongst the principal cast.  Gabby Baldwin showed off a very good voice and nice characterisation as the beggar woman who turns out to be more than she seems; and Ed Mears contributed a great comic turn as Sweeney’s rival Pirelli, whose attempt at blackmail saw him meet a sticky end. It was great also to see several performers from Top Box’s youth productions joining the adult cast on stage.  Wonderful to see their progression and the clear pathway that the Top Box team have created for them to do so. 

The principals were well supported by a formidable ensemble of all ages, who did a great job of delivering Sondheim’s complex music, as they took us through the various reprises of ‘The Ballad of Sweeney Todd’.  There was a particularly impressive scene in which the ensemble were transformed into the inmates of Bedlam, a very convincing bunch of unfortunates who proceeded to shamble their way around the stage to great effect.  ‘God, that’s Good’ also got the second half off to a very strong start, as the ensemble extolled the virtues of Mrs Lovett’s delicious pies! 

Director James Baldwin, making a return visit to the Top Box fold following his work on ‘Beauty and the Beast’ last year, had a keen eye for the grotesqueries of the story, and made good use of the different acting spaces provided by the set.  There was also a clear focus on clarity in the singing – absolutely critical for a Sondheim show where you really do need to be able to hear the lyrics.  The production was styled with some clear nods to Jonny Depp’s film version, including the appearance of Sweeney Todd himself.  Nothing wrong with that, of course, although I did wonder why anyone would entrust themselves to a barber with such a threatening  appearance! 

Good use was made of the depth of the Palace theatre stage, with a raised platform housing both Sweeney’s barber shop and the rooms in the Judge’s house where Johanna was held captive.  Lighting was effective to evoke the murkiness of Todd’s London.  The Palace theatre team also did very well to create clear audio for the singers, a priority for the Musical Director, as the cast had clearly worked hard to master the complex vocals.

On the evidence of this strong production of a tricky show, Top Box is a group that continues to go from strength to strength, both in terms of their youth and adult shows.  All credit to the management team of Tracy Ann Wright and Georgie Pearce, who will barely have time to take a breath before the next production – ‘Rent (School Edition)’ hits the stage! 

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