SWEENEY TODD THE DEMON BARBER OF FLEET STREET

Stephen Sondheim’s Sweeney Todd is not an easy production to stage.  There are challenges for the set and also the performers have a lot of words to fit in.  Ikley AOS rose to those challenges admirably.

Mark Allan played the murderous Sweeney superbly with so much anguish and emotion.  His fine singing voice and acting skills worked perfectly in this role.  Not only did Mark play the title role, but he also directed this production.  I have absolutely no idea how he has managed to do both at the same time, and heartiest congratulations must go his way for this!

Mark was brilliantly supported by Rachel Warren as Mrs Lovett.  Rachel has the most amazing singing voice and all her numbers were delivered with such precision and clarity. 

There were superb supporting roles from Jo Clark as Beggar Woman and Fergal Mullan Wilkinson as Tobias Ragg.  Both of these characters gave vocally strong performances, but for me the highlight was being able to hear exactly what they were singing throughout the piece, which is sometimes very difficult in a Sondheim musical – everything happens so quickly!

Notable characterisations also came from Elliott Matthews as Anthony Hope, who falls in love with Emma Irwin as Johanna.  There was also great support from Steve Charlton as Judge Turpin, Oliver Anderson as Beadle Bamford and Leon Waksberg as Pirelli.

The pie shop/barbers shop took centre stage and I particularly liked the simple effect of the set with the suspended window frames.  Combined with effective “blood” red lighting, in stark contrast to the bright white lighting in the asylum scene, this created a stunning effect.

The chorus, dressed in 1970’s fashions of flares, tank tops and huge collared shirts, looked fantastic.  Their characterisations when released from the asylum, in particular, were superb.  They also mastered the tricky songs admirably.

MD Mike Gilroy certainly had his work cut out with this score – and he certainly put the company through their paces.  I felt he must be having a “workout” in the pit, conducting the excellent band and keeping the company in check through the difficult Sondheim score.

Congratulations to everyone involved.
 

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