‘Sweeney Todd’ review
‘a resounding triumph’
DULOG’s Michaelmas Term musical, Sweeney Todd: The Demon Barber of Fleet Street – curated by Directors Amanda Cross-Court and Lauren Williams and Production Manager George Murray – is an incredible watch, a fact proven by the gasps, laughs, and fixated faces of the audience throughout the show.
Sweeney Todd is the grippingly gothic tale of a barber returning to London after wrongful imprisonment, hell-bent on enacting justice upon those who took him away from his family, and seeking to do so with the help of his barber’s razor – DULOG’s take on it is a must-see!
This show is one of many duos; the most important, and the backbone of the show, being formed by Sweeney Todd and Mrs Lovett.
Tom Carroll’s portrayal of Sweeney Todd is haunting and powerful. He is a true star. His voice carries immense weight, and the scars of the character’s past are truly felt by the audience. Despite much of the role being in a lower register, and the lines demanding a certain depressive tone, Carroll’s Todd still feels youthful, quick, and clever. From an audience perspective, you root for him, and you want him to achieve his goal of revenge.
Connie Richardson as Mrs Lovett is a quite simply a sensation. The control, the skill, the comedic timing: all fabulous. Her first song, ‘The Worst Pies in London’, shows her impeccable timing and strong vocals best – truly a masterclass in Sondheim. In true Mrs Lovett fashion, she lets no opportunity to get a laugh pass her by, and much like Carroll, her portrayal is also youthful and greatly captivating.
The duo of Carroll and Richardson stands up against the powerhouses of the show in its iterations on Broadway, the West End, and on film. Their chemistry is strong, and their vocals mesh beautifully – ‘A Little Priest’ was both hilarious and mesmerising.
Another strong duo is Joe Butler-Smith’s Anthony and Mathilda Ketterer’s Johanna. Butler-Smith has a tangible presence on stage and gives a real sense of confidence and youth to Anthony, while Ketterer’s exquisite and operatic vocals match the fragility and beauty of Johanna – traits also conveyed by her commendable acting, especially in scenes opposite Michael Nevin’s Judge Turpin. Their chemistry is palpable, and they portray the journey of their characters’ love truthfully.
The final duo is that of Nevin’s Judge Turpin and Bede Capstick’s Beadle Bamford. Nevin is clearly an excellent actor – ‘Mea Culpa’ gives chills to the audience and is a truly enthralling part of the show. His Turpin is an ominous presence throughout the show, a strong contrast to Capstick’s Beadle Bamford who brings a welcome sense of comedy and lightness to the role not seen in other famous productions of the show. They shine together with perfect harmonies and scenes of intense dialogue, and shine separately with each of them showing their great voices and acting abilities.
Not part of a duo but a clear standout is Midun Odunaiya as Tobias. The transformation from a boy of youthful vigour to a crazed child is a stunning thing to experience. Odunaiya’s amazing vocals shine, with ‘Not While I’m Around’ certainly being one of the standout songs of the show.
The ensemble is used somewhat sparingly but at all the right times. They are a skilled bunch with great chemistry, working just as well in scenes of laughter and hubbub as in scenes of intensity and drama. The harmonies are complex and well-executed (guided by Vocal Musical Director Zac Smith) and the movement is tight and captivating (conceived by Movement Directors Amelie Symmons and Jobe Hart) ; they are a very strong support to the main cast.
The greatest support to the main cast is the band led by Band Musical Director Sammy Cormack-Repath. Sondheim’s scores are famously challenging and complex, but the band never falls behind, communicating Sondheim’s genius throughout.
Additionally, the sound design (devised by Carlos Davies) shines particularly whenever Todd slits a throat, with the sound effects eliciting audible gasps from the audience and making up for the lack of visible blood in the killing sequences. The lighting design too (tailored by Rory Collins and Leyla Asan Montoya) has moments of greatness, notably during ‘Epiphany’: the lights grow increasingly focused on Carroll, leading to the theatre being flooded with red, creating an almost transcendent experience for the audience.
Furthermore, the physical design of the show is of praiseworthy note. Harriet Miller’s costume design is clearly inspired by the Victorian setting of the musical, but the costumes still feel fresh, colourful, and modern – not too “costume-y” or pantomime-like, but rather fashionable and artistic. Libby Simpson’s set design is both practical and visually appealing. The use of themed covers for the brick wall accents to help quickly change scenes is clever, and the mechanical barber’s chair is a real treat for the audience.
In short, the show is a resounding triumph.
By Louis Williams.