Sweeney Todd

It was a pleasure to return to Clitheroe Parish Church AODS for their 2025 production of Sweeney Todd: The Demon Barber of Fleet Street. This dark twisted musical thriller was packed to the rafters with an eager audience, and understandably so, for it was without doubt a superb production from start to finish.

The story of Sweeney Todd, a fictional barber in Victorian London, is one of dark deeds, licentious intent, and revenge. Benjamin Barker, under the alias of Sweeney Todd, returns to London to avenge his false imprisonment. The targets of his retribution, Judge Turpin, and his lackey The Beadle. Todd takes up residence with Mrs Lovett, a pie shop owner, and between them, they reek havoc on unsuspecting customers.

With a cast of strong players and a drilled ensemble, this show wowed the audience as the macabre but compelling tale unwound before them. It was not; however, all doom and gloom, on the contrary, it was full of dark humour, timed to perfection, that gave the audience cathartic relief, laughter often ringing through the auditorium. Director Richard Sanderson created an incredible show. It was slick, moving from scene to scene without pause, keeping the tension high throughout. The cast moved naturally, rather than obviously placing themselves. As the show opened, the chilling notes of an organ began the prelude. The stage was awash with lights; red blood splatter effects ran down the flats. The company entered the stage gradually, solo voices ringing out ‘The Ballad of Sweeney Todd,’ singing until the stage was full, and the voices reached a crescendo. It was the kind of opening that at once grabbed the audience’s attention, it was sinister, it was harsh, it was fantastic. From the opening moment until the curtain came down the cast and company enthralled the audience.

This musical is entirely sung through, with dialogue also set into the music. Discordant and jarring, the music deliberately created a sense of unease. As the characters on stage descended into madness, the harmonies became more dissonant and grating. Musical Director, Chris Andrews, ensured every note was clear, every word projected. The orchestra were phenomenal, a powerhouse of sound that ebbed and flowed, never once overpowering the vocals. Sound by John Ormerod was exacting, with no faults or feedback. Sound effects were prompt, natural.

From the moment the company came onto the stage their movements were synchronised. Choreographer, Lindsay Taylor, created interesting routines, the company, in triangular formation, leaning and reaching, grabbing out at the audience was extremely effective. There were no errant arms or legs, the precision of each person was pinpoint. I thought the slow-motion movements during the opening of act two, ‘God, That’s Good,’ were outstanding, everybody on stage moved at the exact same speed, it looked fantastic; the transition from slow to normal speed was instantaneous for all.

Lighting played a huge part in this show; it created an atmosphere of tension. Reds, cyans, blood splatters, all reinforced the macabre atmosphere. The precision of the spotlight on Sweeney was intense, blotting out everything but him, evoking a sense of solitude, he was of singular purpose, revenge, and nothing else mattered. The asylum was dark, full of shadows, unpleasant and oppressive, the oven lit from within, timed to perfection as the doors opened and the ‘flames’ burst out. Lighting Director Paddy Keane and his team did a magnificent job, lights were deliberately moody, harsh, or sinister.

The stage looked great, red brick walls with a staircase to the rear, stage right, dominated the space. The stairs lead to a balcony that crossed the over the stage to a spacious flat area top stage left, this doubled as Sweeney Todd’s Barber shop and Joanna’s boudoir. Underneath this, behind the brick wall, was Mrs Lovett’s pie shop/kitchen/oven. The artistic use of a sign, swapped out by passing ensemble members, told the audience where they were, the pie shop, the market square, the asylum. The use of props and furniture changed with the scenes accordingly. At the beginning of act two, the pie shop interior was set centre stage. Large tables surrounded by the ensemble, the sheer volume of bodies on stage looked great as they moved in unison, scrabbling for pies. It was, throughout, visually spectacular. Stage manager, Mic Longhi, and his stage crew, constructed a fantastic set, it was sturdy, with no wobbles. Todd’s shop was impressive. The barber’s chair spun and tilted with ease, tipping victims down an unseen chute, in one swift motion, nervous ripples of laughter ran through the audience as the actors writhed in death throes before disappearing. This was a slick, practiced performance from cast and crew.

The cast wore Victorian inspired costumes, drab and dreary for the lower classes, clean and expensive for the Judge and Beadle. Wardrobe by Jean Pells and team, was impressive. Every actor on stage attired to their social standing. The beggar woman layered in shabby rags, dirty and downtrodden, looked fantastic. Mrs Lovett changed costumes for the second act, her new attire reflected the rise in her fortunes. The culminating effect of costume, makeup, and wigs was memorable.

Sweeney Todd was a dark, brooding, malevolent man. His sole reason for returning to London was to kill Judge Turpin and the Beadle. John Emmanuel was excellent as Todd. His presence was oppressive; hatred and violence seeped from his pores. He held himself like a tightly coiled spring, about to snap and drag everyone into his personal hell. With an intense stare, unflinching and controlled, John was magnificent. His vocals were strong; I loved the harmony during ‘Pretty Women’ (part 1) it was spine tingling in its beauty. An unforgettable performance from John.

Making ends meet by running a grotty Meat Pie Emporium, was Mrs Lovett, played by Sue Chadwick. Slatternly and devious, Lovett convinced Todd to move into the studio above her shop. Here he could practice his revenge on customers visiting his barbers, whereupon she chopped them up and put them into her pies. Sue had fantastic comedy timing, her shrill vocals during ‘By the Sea’ designed to make Todd flinch, were jolly funny. She wiped her nose on a pie, brought limbs on in a basket to put in the mincer, muttered to herself whilst using the stairs and balcony, all incremental to her character, but played with levity. Sue’s vocal range was fantastic, ‘Wait’ was full of compassion and feeling, whilst ‘A Little Priest,’ displayed her sinister humour and deadly intent. Her chemistry with her fellow actors was strong. A rounded, impressive performance from start to finish.

Todd returned to London with a young sailor by the name of Anthony Hope. Anthony, unhardened by life, sees London as a wonderful place, spotting a falling in love with Joanna instantly, he spends his time trying to free her from her guardian, Judge Turpin. Andrew Fletcher was notable in the role of Anthony; his face held a wide-eyed innocence. Vocally strong, his rendition of ‘Joanna’ was simply lovely, the top notes clear and confident.

Joanna is the lost daughter of Sweeney Todd/Benjamin Barker. Brought up by Turpin, poor Joanna, locked in her room, spots Anthony through the window and falls in love. Holly Foster was wonderful as Joanna. Her nervous demeanour in the wake of her captivity was excellent, her jumpy nature a sign of her mental state, that slipped further during her enforced exile to Fogg’s Asylum. Holly had a beautiful vocal range, her notes during ‘Green Finch and Linnet Bird’ were clear, precise. An intense performance from Holly.

The Beadle, sycophant, and oily, cow-towing to the Judge’s every whim, was played by David Hulme. David is an excellent character actor, with a high tenor vocal ability. I loved the way he sneered at people, looking down his nose at those he considered lesser than himself, his over inflated self importance resting purely on Judge Turpin’s influence. Instrumental in Todd’s incarceration, actively encouraging the Judge’s nefarious behaviour, the Beadle was a toad of a man with no scruples. David was excellent in this role, when he broke the bird's neck it both shocked and amused the audience, well played.

I do not think I have seen Judge Turpin so elegantly played. Damian Marsh took this characterisation to another level. He was calculating, arrogant and repulsive. His lust created Todd, his desire ruined lives, he felt no remorse. Ignorant of the effect he had on the lives of others, he did as he pleased. I loved the complexity of character during Damian’s solo, ‘Joanna.’ The guilt-ridden flagellation, as passions threatened to derail him, the creepy way he almost touched Joanna, his lust vividly exposed. The audience were privy to Turpin’s innermost thoughts, it felt wrong, voyeuristic, licentious. A powerful performance from Damian.

Loitering around the stage, throwing lewd comments at passers by was the Beggar Woman. Thrown out on the streets, driven mad by circumstance, the Beggar Woman saw events for what they were, predicting the fate of all through her crazed outbursts. Jessica Sanderson was wonderful in this role. Her strong vocals rang out clearly, as she skulked and crept around the stage and auditorium, always present, always watching. Jessica had the remarkable ability to make the audience believe she was a crazy beggar woman without straying into comedy, she was frightening and crude, vulnerable and troubled. An exceptional performance.

Tobias Ragg, orphaned apprentice to the barber Pirelli, was played by Joe Kitching. Joe was fantastic in this role, his performance multifaceted. Tobias, after abuse from his former employer, takes to Mrs Lovett but distrusts Todd. Joe was outstanding as the sweet natured, street urchin. His cherubic smile and warmth towards Mrs Lovett made his character an audience favourite. I thought the facial expressions Joe employed were priceless. His reactions to Pirelli’s razor, grazing his knuckles were wonderful, you could see the pain etched onto his face, increasing with each stroke of the blade. His vocals during ‘Not While I’m Around’ were haunting, heartfelt, and tender. His final scene, as he fell into madness was heartbreaking and shocking. A fantastic performance from Joe.

Simon Jackson displayed his talent for accents as Italian barber Adolfo Pirelli. Former barber’s apprentice, now successful in his own right, Pirelli threatened to expose Todd having recognised him as Benjamin Barker and was the first to meet Todd’s blade closeup. Simon’s switch to an Irish accent when he revealed his own identity as Barker’s former apprentice, was impressive. With excellent comedy timing during his songs, notably ‘The Contest’ and during his death scene in the trunk, Simon made the audience laugh aloud.

The twisted keeper of the asylum, Jonas Fogg, performed by Steve Potts, sold the hair of his inmates to wig makers. Thus, Anthony was able to rescue Joanna, as Fogg readily agreed to scalp the unfortunates for money. Steve played this role to its fullest, vicious, cruel and without scruples.

This show was fantastic, from start to finish the cast and crew put 100% into it and the results were quality. I would like to thank Clitheroe Parish Church AODS for inviting me to Sweeney Todd and look forward to many more productions from them in the future.

 

 

 

 

 

 

 

 

 

 

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