Sweeney Todd

What a rollercoaster of emotions for Lowestoft Players, who, early in the stages of rehearsal, were informed that their co-Director and inspirational long-standing member, Stephen Wilson, had suddenly passed away. Stephen played Sweeney Todd when the Players last performed this in 1990, and what followed was a memorable, magnificent piece of theatre that would have made Stephen so proud. From the outset to its conclusion, this performance had me watching in awe at the talent on display across the whole cast.

The Players theatre, bought by Lowestoft Players and developed from a former seaman’s mission, has been transformed into a remarkable working theatre that is constantly evolving and is a testament as to how community theatre groups can thrive and provide a legacy for audiences and future generations of those involved in the theatre to enjoy for years to come. The tributes to Stephen inside the venue and programme, were a fitting testament to a man who put his heart and soul, not just into this venue, but in a multitude of ways in the community, throughout his entire life.

But first, the set, which had been meticulously constructed based on Stephen Wilson’s initial stage concept, featuring a split multi-level set, with 3 ascending staircases, one on either side of the stage, and a third that went to Todd’s Barber’s in a loft room above Mrs Lovett’s pie shop. A further balcony with balustrade had been constructed stage left above the audience for Johanna to appear from Judge Turpin’s residence. Attention to detail was exquisite, with street lighting of the period, a sloping loft window and large furnace where the sinister plot led us in act two. A hatch had been constructed in this attic room, with a trap door and slide to the basement for Todd’s victims to meet their fate. With a backdrop of London and a very effective use of lighting, this was as good a set as I have ever seen.

It was a production where everything had such a lot of thought and attention given to every detail, but good casting was the key to what made this such a fantastic production. Additionally, the stage chemistry between 3 sets of performers enhanced this further. Sondheim’s very tricky score is extremely difficult to interpret and deliver, but, again, superbly presented.

Chris Darnell as Beadle Bamford, and John Marjoram as the sinister Judge Turpin, made an excellent pairing as they sang and discussed “Ladies in their Sensitivities.” From Jenny James’ entrance, as Johanna, on the balcony, to beautifully sing “Green Finch and Linnet Bird,” with MD Casey Divall as Anthony Hope watching entranced, the audience were captivated. Jenny James has a maturity to her singing voice and acting well beyond her years, I have no doubt that we will see Jenny in many leading roles in the future.

Tom Higgins as Tobias Ragg, and Taryn Taylor, as Beggar Woman, were both excellent throughout, Taryn showing great courage to slide to her fate from Todd’s Barber’s chair. Chris Fenn as Pirelli and Andrew Liddon as Jonas Fogg were also very well cast.

As the two central characters, Sweeney Todd and Mrs Lovett, Chris Moore and Emily Simpson were both outstanding and drew out every sinew and twist of the unconventional business arrangement and relationship, with razor sharp precision of this Sondheim masterpiece. Their performances would have graced any professional stage.

My congratulations to the production team, this was a wonderful evening.

 

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