Sweeney Todd

Set in Victorian England, the foggy inhospitable streets of London very quickly become apparent after a strong chorus ‘The Ballad of Sweeney Todd’ opening set on a ship’s deck with dazzling lighting effects depicting the raging storm.

 A Powerful Stephen Sondheim musical, this tale is of criminality, corruption, revenge tragedy and romance and no wonder that it has established itself as an award winning musical. A show it is difficult to say you enjoy but in a production of this quality one that can only be subject to complete admiration.

 Dean Bayliss played the role of ‘Sweeney’ with all the charm and demonism the role demanded with vocal strength and quality. As his pie-making accomplice ‘Mrs Lovett’, Alison Roberts both vocally and with highly expressive looks was an impressive story teller throughout. Musical expression from them both reflecting their talent in a wickedly funny number ‘A Little Priest’ performed as a competitive game in which they try to outwit each other.

 Playing commendably the role of ‘Johanna’ Rhianna Jacobs showed her strong vocal talent and was part of a delightful pairing with Dan Callaghan as ‘Anthony’ her knight in shining armour. Their ‘Kiss Me’ duet caught the right level of romance sensitivity. 

James Beaumont portrayed his role as‘Tobias’ in a highly accomplished manner and was vocally compelling in his duet ‘Not While I’m Around’. Gail Andrews was played ‘Beggar Woman’ both artistically and vocally with conviction and intensity

Ken Knight ‘The Beadle’, in a resplendent vibrant red costume and Jonathan Barclay playing Judge Turpin were excellent. Completing an extremely strong principal line up were Steve Roberts as ‘Pirelli’, John Dix – ‘Bird Seller’ – and Peter Sadler – ‘Fogg’.

Musically the extraordinarily complex Sondheim score presented hurdles for principals and ensemble alike. In solo pieces, duets, quartets and other combinations including full chorus numbers these were met with great success and professionalism. With thanks to a balanced live orchestra, which at times could have had a softer tone.

Many outstanding on stage performances  were  enhanced by lighting and sound effects, a superbly effective set and high quality period costumes with complimentary stage make up in evidence. Spine chilling precise intimidating moves ensured that ‘Sweeney’s’ unlucky clients  who did not escape the Demon Barber’s vengeful blade were sliding from the seat of the chair to ‘Mrs Lovetts’ bakery, prompting the audience to gasp, having each time witnessed blood spurts on cue that added that special sense of a realism .

This musical thriller and often acknowledged as one of Stephen Sondheim’s greatest achievements. This thrilling spine chilling edge of the seat production was impressive all round. Comedy, tragedy, and madness in this gripping musical combined meritoriously, providing the audience with a memorable theatrical experience and huge congratulations to all involved at EODS.

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