Sweeney Todd The Demon Barber of Fleet Street

Sweeney Todd The Demon Barber of Fleet Street with music and lyrics by Stephen Sondheim was based on a book by Hugh Wheeler. This musical thriller opened on Broadway in 1979 and on the West End in 1980. Since this it has had several revivals.

Usually set in Victorian times the directors interpretation of the show took us to the 1930’s. The show opens with the barber Sweeney Todd returning to London following 15 years in exile determined to seek out the judge who banished him and intent on finding his wife and daughter. 

Paul Mitchell taking on his first lead role as Sweeney Todd was excellent displaying the character of someone tortured with his past as well as a hint of madness. His makeup was good with wild- eyes and it was clear that he was hell bent on getting his revenge. His singing and acting was faultless. He needs to be congratulated for mastering a difficult role to play. 

His partner in crime was Lou Walton as Mrs Lovett who although young for the role managed to carry it out well. After telling us about ‘The Worse Pies in London’ came the plan to utilise Todd’s victims. A recipe that worked well resulting in a significate increase in the sale of pies. The chemistry and camaraderie between these two actors worked well and both need acknowledging for their rendition of ‘A Little Priest’ at the end of Act one when they are trying to outdo each other on potential victims.

Regulars to Studley Operatic will know of the dependable voice of Jonathan Boxall – Southall. Playing the part of Anthony the audience would not have been disappointed with his singing of ‘Johanna’ and the character he developed. Johanna played by India Peart – Barr was an ideal companion to him as the story unfolded.

Julian Bissell as Judge Turpin and Andrew Halliday as Beadle Bamford worked well together in their scheming. Both played their parts with conviction as did John Reeves as Adolfo Pirelli. Craig Robert McDowall was confident in the role of Tobias and sang ‘Not While I’m Around’ well.

The Beggar Woman was suitably desperate in her increasing despair right from the start of the show. This twist in the tale is always a shocking moment for those who do not know the show.

Speaking of shocking moments, the throat cutting scenes looked good and had the desired effect on the audience going by their reaction to blood squirting onto the victims clothing as they fell to the oven room below. Well done for how these scenes were managed. 

The 13-piece orchestra was under the direction of musical director Norma Kift. A considerable amount of the show is set to music with either musical numbers or orchestration under the dialogue.  The music was well pitched to ensure they did not over power the cast.  The score to this show contains some difficult numbers which could be a challenge to any society. This challenge was overall met although on opening night the chorus did not always seem to be fully confident with the demands placed upon them. 

The sets built by members of the company was well constructed and fulfilled its requirements affording the pie shop, the oven, a lounge and stairs to the upper level where Todd had his barber shop complete with trap door down which customers slid having had their throat slit. It was however large and at times un-wheedling while having to be moved with cast members also on stage. The barber’s chair although effective did appear rather modern and some items in the pie shop also seemed out of place and not of the period.   

The directors had many chorus members in the show.  To get all these people on to a small stage especially when a large set is in place had further challenges.  This resulted at times with a rather full stage such as during the opening of act two and in Foggs asylum.  

The lighting was at times chilling with some effective touches although at other times cast appeared out of their light or not lit sufficiently.  It was evident the company experienced some technical and logistic difficulties on their opening night. Hopefully these were ironed out as the run continued.

Due to the dark side of this show it is not a toe tapping colourful show. However, the audience clearly left the theatre having had an entertaining evening and I congratulate the company for taking on the challenge. Despite the challenges of this show and the opening night difficulties there was an unquestionable amount of effort put into the production which needs to be acknowledged.

And so on to next year for Studley Operatic Society and ‘Oklahoma’. The society last presented this popular musical in 1998. After a break of almost 20 years I am sure it will be another successful show for this well respected group and I look forward to seeing it.

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