Sweeney Todd - The Demon Barber of Fleet Street

Proving that a musical can be about anything, even serial killers and cannibalism, Sondheim and Wheeler produced this incredibly dark musical thriller based on a 19th century penny dreadful adapted into a book by Christopher Bond. An opus between an opera and musical with much underscoring keeping the audience in suspense with music hall and ballad intertwined. A dark, complex story of vengeance and its consequences, certainly a show with huge challenges for BatTS both vocally and logistically. However, both were overcome and hopefully our appreciation was apparent in the applause.

Sweeney, once known as Benjamin Barker, has escaped from transportation after being wrongfully accused and jailed for fifteen years. Formerly a proud barber, a loving husband and a happy father, Sweeney is consumed by loss and revenge. He has returned to a filthy, foggy London with the help of young seafarer Anthony Hope, to right the wrongs committed against him, his wife, and his daughter. He appears charming but hot-tempered, ferocious yet vulnerable this character Steve Corke created with his strong baritone voice and passionate performance until his evil deeds end with his demise too.  Visiting his old landlady Mrs. Lovett, meat pie shop owner, who will do whatever it takes to survive, she persuades Sweeney by showing him his old cut throat blades, suggesting he return to his old premises above the shop and show off his skills once more. She is in love with Todd and hopes that he’ll forget the past and build a new life with her, tempting him with fine ‘By The Sea’.  Nikki Gerrard was a superb Mrs Lovett both physically and vocally. Together they turn his desire for revenge into a profitable business with killings and grinding producing more pies by popular demand! A resourceful woman, who lies of the demise of Lucy, now a changed promiscuous beggar woman. Lovett has a strong personality and Nikki has great comedic timing.

Anthony Hope is a youthful sailor gently played by tenor Oliver Albertella, who unexpectedly falls in love with Johanna, unbeknown to him Sweeney’s daughter, now ward of Judge Turpin. He is idealistic, romantic and a little reckless. His passion and enthusiasm sometimes get the better of him. He eventually wakes to the horrors around him and becoming disillusioned with what is happening in London. Johanna is Todd's long-lost daughter, guarded, housebound and desperate to fly away. She has a rebellious, and romantic streak and together with Hope they plan to unsuccessfully run away. Ruth Parson’s in her muslin dress and long blond hair sings this part beautifully. Agile Henry Smalldon played Tobias Ragg a poor youngster apprentice to flamboyant Adolfo Pirelli, creator of a miracle hair restorer. Eager to please, with a good sense of humour, he’s clever and observant, and responds to Mrs Lovett kindness but grows suspicious of Sweeney. After a betrayal, Toby experiences the violence around and snaps. Adam Bunting-Smith was a larger than life Pirelli with a strong Italian accent, well characterised in his obvious wig which he throws, attempts to blackmail Todd – he once was his apprentice and Irish by birth and is the first murder victim and it’s Mrs. Lovett scheme to change the pie fillings!! I’m so off meat pies!

Judge Turpin is a lecherous official portraying himself as a pious authoritarian, taking advantage of his position to imprison Todd, assaults Lucy, and taking Johanna, lusting after her, even wishing to marry her! Duncan Brown struts his stuff and sings impressively but again is slain in the barber’s chair. He is aware that what he does is wrong yet chooses to ignore it. Rob Dyer takes on the role of Beadle Bamford a pompous public official responsible for the health and safety of London. He has a deadpan sense of humour and enjoys his power. Loyal, though he believes he’s better than the Judge Turpin. Bamford loved singing nursery rhymes and parlour songs playing along on keyboard and Rob managed to vocally reach some very high notes.Tobias Ragg is a poor young apprentice to Pirelli and then to Mrs Lovett, is eager to please, with a good sense of humour. Uneducated, but clever and watches. Tobias responds to Mrs Lovett’s kindness, growing increasingly suspicious of Sweeney. After a betrayal, Toby experiences the violence and terror of this world and snaps by ending Sweeney’s life.

Beggar Woman is actually Lucy Barker, a poor tortured soul living on the London streets by begging and prostituting herself - Sweeney’s wife, who lost her mind after being assaulted by Turpin and then taking poison. She has moments of lucidity and distrusts Mrs. Lovett. She sees all but no one will listen. Suitably bedraggled Zola Thomas is very convincing in this role, hiding in corners and dying spectacularly.

Adolfo Pirelli, formally an Irish employee of Sweeney’s who has since developed a persona as a flamboyant and flashy world-famous Italian barber. A charlatan selling fake elixir he challenges other barbers to shaving contests. Pirelli appears charming but is manipulating who attempts blackmail and he quickly becomes the first victim who is thrown into a chest later to be disposed of. Jonas Fogg is the owner of Fogg's Asylum, selling hair of inmates to wigmakers. He considers the inmates “children” taking pleasure in showing them off to visitors. Authoritative but cowardly, bespectacled Andy Mould projected his Scottish lilt becoming suitably creepily adept in this role and was active in the Ensemble too. The Ensemble all well recognisably costumed characters, some looking too clean perhaps, comment vocally on the action and participate in the tale, singing with clarity and backed by a small choir together with the band of seven led by MD Oscar on keyboard, again using every inch of space in line formation. They were the storytellers, taking on the roles of customers, townspeople, tortured souls, police with whistles, Sweeney’s victims and more. There was an eerie feeling of them always being nearby, silently appearing from various entrances, constantly watching, there were vocal challenges with solos and small groups all well mastered with balance and precision. The stage setting was particularly interesting with good shaping around a central raised build and large pieces such as the giant movable oven, the new barber’s chair, heavy looking chest and not forgetting the body part grinder to turn three times slowly! Mike built the raised central first floor barber’s shop with side steps down into the pie shop with a dual-purpose counter with good use of the floor too, almost immersive. A London scene was projected at the back of the stage with black curtains used for entrances and exits as well as the hall doors together with the team of set decorators a place of horrific deeds was created. In contrast the addition of the couch was symbolic for inside Judge Turpin’s home and in wig & gown, leaning worked well for court appearance. A difficult sized area for Louise to design her set and with Lily’s choreographed movement for a large cast together they created a structured, dark, atmospheric Victorian environment. Foggy sinister lighting from Jonathan Richardson, characters slickly moving items, balanced sound from Dave Rowland the action flowed very well with SM Sam Freer. Debbie Scarboro and her team were responsible for the many props required. And what a variety of costume designed for so many different characters particularly those required for the ‘Little Priest’ number well co-ordinated by Libby Grainger and assistant Alaina Lally.

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