Sweeney Todd

Based on a 1970 play by Christopher Bond, with music and lyrics by Stephen Sondheim and book by Hugh Wheeler, ‘Sweeney Todd’ opened on Broadway in 1979 and in the West End in 1980. It won many awards then and in revivals down the years – a total of 13 Tonys, 16 Drama Desk and 6 Laurence Olivier. It is a musical melodrama set in the 1840s and is based on a popular Victorian legend – 20% spoken while the rest is sung. The theme is one of revenge and how it can consume a person into becoming an obsession.

The Avenue Arts Academy’s set was its usual high walkway across the back of the stage – widened to accommodate Todd’s Barber Shop. It had a staircase at either end – Stage left to access the barbers and SR with a platform which depicted Judge Turpin’s abode where he imprisoned Joanna. At the back of the stage was a painted black & grey Victorian London Skyline. Props were authentic – the dentist’s chair was particularly good. It switched with a foot pedal to a flat surface down which Todd’s victims slid to the furnace below! Lighting was excellent with atmospheric colour changing beams and tight pools of light. Good blackout allowed effective scene changes. Sound was mostly good but on a few occasions the balance between orchestra and vocals resulted in lost lines. Most diction in song and dialogue was good. Most costumes were of the Victorian period although Sweeney’s shirt should have been collarless, and his braces buttoned not clipped. Hair styles, wigs, and makeup were well created with attention to detail. The appearance of blood after each neck slitting was effective.

Tommy Cunningham took the titular role in passionate manner. He was morose and vengeful, having been unjustly committed to years in an Australian Penal colony by a corrupt judge. His vocals were more than capable for the solo pieces of Sweeney Todd’s character. Tommy showed excellent on-stage rapport with Sarah Close-Ledgewood as Mrs Lovett. Sarah was a most cheerful pie shop owner, whose adopted mannerisms showed a confident and assured young actress. Her comic timing was flawless, and she gave the impression of being slightly unhinged! An equally competent Aodhán Halfpenny played Tobias, showing through his portrayal, a simpleton with a good heart. Becoming attached to Mrs Lovett – nearly as a surrogate mother – he sang “Not While I’m Around” with gentle gravitas.

Judge Turpin – the villain of the piece – was played by Dara Lawlor. His difficult scene, when trying to rid himself of “unnatural desires” for his ward Joanna by scourging, was well handled. He made himself generally disliked by his revealed history of corruption, obsession and rape. His musical numbers –“Joanna”, “Kiss Me” and “Pretty Woman” -some of which were contrapuntally sung with other characters, were well delivered. Danny Gibson was Anthony, the young sailor friend of Sweeney Todd, who falls in love with Joanna. This was a subtle and heartwarming performance with moving musical numbers. Although a naïve character, one felt that he would always take good care of those he loved as shown by his continuing search for Joanna when she went missing.  She herself was sensitively played and beautifully sung by Olivia Pyper in her first “senior” role.

I was particularly drawn to the portrayal of the Begger Woman by Lauren Picking. Constantly hovering in dark corners, Lauren made a convincing “old crone” who was endlessly warning of dire consequences, and who everyone regarded as mad and not worth paying attention to. Turning out to have been Todd’s wife, driven to madness by Judge Turpin’s rape – it was heartbreaking to witness her demise by an unsuspecting Todd who did not recognize her.

As Beadle Bamford, Eoin Keenan made frequent appearances – mostly as a corrupt accomplice to Judge Turpin. He was credible as this sleazy character although his costume was more akin to a member of the clergy. Finn Harding was Pirelli – flashy Italian barber who turned out to be Irish Daniel O’Higgins who was ex assistant to Todd! Attempting to blackmail his old boss, he was first to have his throat cut. Finn made the most of his time in the limelight! Another small role – corrupt asylum owner Jonas Fogg, was effectively taken by Eoin Hannaway.

The superbly engaged Ensemble added much to this production. Some came forward in song lines and dialogue from time to time and all sang and danced their hearts out! Possibly their choreography and placing on the stage was more difficult than taking a principal role!

An excellent orchestra under the baton of Keith Pyper provided a fabulous foundation for the harmonies and dynamics on stage – all well-rehearsed and performed. (I like the orchestra being behind me in the auditorium!) Sarah’s Choreography was first class with many excellent tableau and innovative movement. As always, Wilfie Pyper’s direction was creative but always appropriate for this challenging Sondheim musical. Considering that the rehearsal period was only a couple of weeks, it was an amazing achievement for everyone involved.

As this was my final Avenue Arts show as NODA representative , I would like to thank you all for your invitations and welcome since attending the Academy’s shows. I brought along Jim McGuigan who will be taking over 50% of my Noda member groups and he was equally impressed at the calibre of your production. 

I’ll be back ….as an ordinary punter! I wouldn’t miss seeing your wonderful musicals and watching your progress! 

 

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