Sweeney Todd

Firstly permit me to say how much I enjoyed this performance of Sweeney Todd. It can be a hard show to sit through; let us accept that it’s a dark tale with little to uplift the audience and there are not many tunes you can hum. A long show also and the backside can grow weary if the performance does not engage and interest the watcher.  The evening flew by with no hint of muscle fatigue.  It was, by some mark, the best show I have seen undertaken by the Society. I sometimes, when watching a show, allow myself the conceit of thinking, would I have enjoyed being in it. The answer on this occasion was a most positive yes!

 It is, without any doubt, a difficult show to undertake and the Society is to be applauded for a brave choice. Having put a difficult Sondheim show under its belt the Society could and should return to the repertoire of the greatest living composer in the musical field. I consider that the Society can be justifiably proud of the production and all concerned with the show deserve congratulations.

Sweeney Todd is a show which needs care in execution in that it has to remain real, believable, true and despite being based on a Victorian melodrama it must not go over the top and hence into farce and pantomime.  It has to be slick, sharp and precise yet retain an earthy and rough feel. This production met those challenges head on and delivered.  The story was told with drive, clarity, purpose, energy and precision with as much speed as the structure and text allow. It has to remain dark, dirty, grubby, pungent, seedy, and malevolent, with a set of characters duplicitous, corrupt, morally bankrupt and deeply unattractive. It isn't easy but considering the production as a whole this was achieved.

The principal players were excellent, outstandingly so with regard to Sweeney Todd and Mrs Lovett. Acting through song was strong and consistent with characterisation on the mark. Little touches added a level of finesse which greatly enhanced the performances. From the first wallop with the rolling pin to seduction by bon-bon Mrs Lovett was a delight to watch and a flick of the ankle during the “A Little Priest” number suggested an actor on top form. Sweeney was likewise convincing. The slitting of throats by means of action akin to a caress rather than a brutal slashing gave the clear signal that this character loved doing it. It was a joy to see the pair so physically and emotionally comfortably in their roles. The relish with which they sang that showstopper song was palpable. The strongest meat seasoned with delicious innuendo. Perhaps Sweeney’s declaration that he would return when there was “judge on the menu” could have been have been underlined with more force but I am taking my examination of one song a bit far and it was a  delight. That level of performance is only achieved by hard work, thought, application and trust in the director.

I have been fortunate enough to see Sweeney on a number of occasions and of the questions I am left with relates to Mrs Lovett and Sweeney’s wife. The reveal confirms that the former knows the latter but she never tells her lover that his wife is still alive. There’s no show without that deceit is there? Having seen it before I know that she knows but I wonder if other audience members know! Or perhaps we are not supposed to know.

Other main characters were strong, well-acted and sung. Judge Turpin could perhaps be darker. We, or should that be I, did not grasp the level of his sexual depravity. That is established clearly in his version of Johanna where his cry of Mea Culpa, possibly during an act of self-flagellation, underlines his perverted predilection for voyeurism and an inclination to a “form” of incest; what he calls his “red hot devil”. With that established his exchanges with Sweeney can take on an added level.  Without the song the actor has perhaps less to work with in terms of establishing the character and it was much to his credit that the Judge did come across as a thoroughly corrupt and unpleasant “upholder of the law”.

The rest of the main characters were convincing and certainly fell in the mad, bad or just dangerous to know classifications.  The Beggar woman, Johanna, the Beadle, Pirelli, Anthony, Fogg and Tobias were all well played. A minor role perhaps but the bird seller was charming; a picture of calm in a story replete with murder, mayhem and madness. The ensemble was thoroughly competent. Those who watch a lot of amateur musicals will understand that to be a significant compliment. Whilst at times I felt there were perhaps too many on the stage, in the pie shop and the asylum for example, there was not one performer who I felt did not belong in the story. Quick to the mark throughout the show they were committed and full of purpose, especially during episodes when they were off and on quickly. No one ever looked lost or out of place.

On the technical side I have little to say beyond everything seemed ok. I tend to notice when things aren’t but nothing grated here. Having seen one production get bogged down and very messy with buckets of shaving foam the director’s choice in avoiding such was welcomed. Not needed, the audience knows what is going on. Lighting gave a clear sense of time, place and situation. The lighting and sound effect at the point of the murders was clever, well-crafted and executed. The use of the spilt stage for some episodes was effective, in particular during the passage where Sweeney is recalling his wife’s corruption by Turpin. The use of different levels pleased the eye and leant much to the telling of the story.  The only comment might be that a different balustrade in the asylum, rather than the original balcony, would have established that we were at a different point, time and place more readily but that really is a trifle. The ease and confidence with which cast members moved from one scene through time and place to another was evidence of a lot of hard work, a set which afforded such movement, a committed cast and confident direction.

If there is one aspect I am woefully ill equipped to make any comment it is on the music. I endured the odd wince but generally the singing and music was clear and well delivered. I know enough to understand that Sondheim’s music is rarely anything other than complex, deep and difficult and I felt the cast and orchestra did an excellent job. I particularly enjoyed the fact they were confident enough to deal with the pauses without any hint of nerve or uncertainty.

Two last comments which maybe beyond my remit, but here goes.

I loved the manner in which the cast remained in character for the “walk down”. It isn’t over until it’s over and I like it.

I thought the programme was excellent. As good as I have ever seen for an amateur show and packed with good things; excellent synopsis, clever use of quotes from the show, interesting biographies, terrific photos. However if I hadn’t known who wrote the show it would have taken me until page 15 before, in the bottom corner in the smallest of print I would have learnt that it is a Sondheim show. Half a page about the man would have been appropriate given that without him there would have been no show.

Overall this was an excellent production of a difficult show undertaken with confidence and conviction. All concerned should be commended for their efforts in making it a success.

Jeff Hill

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