Sweeney Todd

Nobody writes music like Sondheim, with the unusual and gorgeous combination of notes which can sound discordant to unfamiliar ears, yet nobody can doubt he was a genius, and the soaring scope of the dark Sweeney Todd is a testament to that. It’s also incredibly hard, this operatic epic, the harmonies are super tricky and the music accompaniment is hard to play. Tackling this show is not for the faint hearted, yet BHOS have the skills in every single department to produce a show that shines with excitement and professionalism.  

This is one of those rare shows where every single person on the stage deserves to be there in skill and talent, and has full commitment to what they are doing, whichever scene they portray. This is some of the best ensemble and movement work ever seen: in perfect time, with full tension in bodies and grit and determination in faces. The movement work by Graham Brown is simply exceptional: fascinating to watch, always interesting, creating wonderful evocative shapes sometimes symbolic of the actions in the show. Similarly the way of moving the set using all the actors as part of the scenes is utterly gorgeous. 

The set is stripped back yet still accomplished in detail: raised sections at the back as a platform and wooden steps and platforms used for tables or walkways. It’s a wonderful use of the space which actually looks huge, compared to the stage at this venue before; plus the new orchestra and music set up means that the actors don’t have to have mics, which is super: it’s much more intimate and real to hear them without. They also seem to be balancing the accompaniment with the vocals in each song, as the levels would be different for many voices singing or just one, so this instant modulating is great. 

The detail in the costumes and looks of all the actors is amazing, and so much care has been taken: their legs are grimy, the costumes are appropriately filthy, and post interval Mrs Lovett in the most fluffy dress for the marriage proposal song by contrast is hilarious. The stark difference between the upper class Judge and the Beadle contrast the grimy lower classes, even Joanna’s thin dress. The face makeup with red around the eyes, which got worse as time went on for the Judge, worked brilliantly. The skills of Chris Horlock are on show again here alongside Patti Griffiths. With so much attention to detail in the costumes and looks of them all, covering up tattoos and taking out piercings would complete this picture. 

The lighting is exceptional too: the hanging lanterns adding appropriate ambience, the coloured lighting changes evoking moods and emotions especially fear. The lights in the backdrop of the set also worked well for the machinery and grinding. The lights changing for the death scenes works very well, as does the gruesome shaking way the different customers die at Sweeney Todd’s razor: and being led away also works brilliantly. Even the lights on the way to the theatre and the blacked out decorated windows all help to create the atmosphere, as does the shocking opening picture of the set as we enter the theatre. This is a production where every single thing has been considered as to how best to convey all the aspects of the show, to help tell the story in the best possible way. 

Tania Newton is absolutely outstanding as Mrs Lovett: larger than life in some ways yet still grounded in reality: with vulnerability, hope, humour, and a devious black heart. She is also hilarious. When she is on the stage you can’t take your eyes off her, she has such astonishing presence and natural performance skills, alongside incredible and glorious vocals. An absolute joy to watch. Duncan Henderson is a lean, scary and brooding Sweeney Todd, completely believable, with a shade of John Malkovich presence, menace and energy. He may divide the audience depending on their idealised version of the lead character they hold in their minds, however, his portrayal is real and grounded: giving us a fully rounded Sweeney Todd as a broken man bent on revenge, who almost destroys everything in his path in order to get it. His vocals are similarly earthy and real rather than operatically trained and that actually works really well with his portrayal of the character. They both create leads who the audience root for, despite the fact they murder and cook (respectively) people. 

Elise Burt and Adam Holland make a lovely instantly in love young couple, with a sweet, loving and innocent dynamic between them. They have some gorgeous moments, and their vocals are stunning: Adam holding an impressively high long note and Elise with a clear and pure super high top note. Paula O’Sullivan’s Beggar Woman switch of mood is hilarious, and her trained vocals are a joy to hear. As too are the chocolate warm tones of Jake Beniston, reaching the lowest of low notes with control and clarity, alongside his superb performance of the odious and loathsome Judge Turpin. His portrayal here reaches some really dark corners and is all the better for it: some lovely choices. Characterisation and acting across the board is of the highest quality outside of professional theatre. The skills on show here are quite simply astonishing. 

All the actors are worthy of note. Ali Henderson is a joy as Toby, portraying a young boy very well. Robert Francis is fabulous as the flamboyant Adolfo, astonishingly in his first complete theatre production. He absolutely acts with is voice as well and his character choices are spot on. He is a comedy relief character and he does is beautifully. Dan Nolloth is almost excitedly camp in one scene as the Beadle and this works so perfectly: almost channelling a little Mark Gatiss in his disturbed quirky darkness. The ensemble work brilliantly, for example Jack West with great facial expressions.  

Sometimes people are cast in musicals because they can sing, so the acting is ignored; or they can act, so the singing is ignored. Not so these fine troupe: they are superb at both in equal measure. It’s quite some achievement to have created this stunning, superb show and collect all these amazing people: congratulations and awe to Claire Lewis for her incredible job as Director, and to Michael James for Musical Direction. This is not just another musical, this is truly special: an excellent, exceptional, first class production of a very tricky show. 

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