The cast of Sweeney Todd: The Demon Barber of Fleet Street at The 5th Avenue Theatre. (Photo Credit: Mark Kitaoka)
Sweeney Todd: The Demon Barber of Fleet Street
5th Avenue Theatre
Through May 14, 2023
Get more info and tickets here.
It is one of the bloodiest musicals to ever slay Broadway audiences. Music and lyrics by the great impresario, Stephen Sondheim, the musical (or sometimes called a “dark operetta”) is definitely one of the great legacies the late genius left to the theatre. Revived at The 5th Avenue Theatre, this brilliant production is worth its weight in rubies – “precious {and dripping} rubies”.
The story is very Victorian gothic. A man named Sweeney Todd returns to London after many years of falsely being convicted, and exiled in an Australian prison. He returns with the help of a young sailor named Anthony, and eventually seeks out his previous life on Fleet Street. He comes across Mrs. Lovett’s Meat Shop, where the proprietress laments her misfortune and destitute situation. After further secrets are revealed, Sweeney is told that his wife has taken poison, and that his daughter has been taken as a ward by the very man that sent Sweeney away on a false charge; Judge Turpin. He rents the room above the shop and reconstructs his tonsorial parlor. He settles into his obsession: to seek revenge on all those that wronged him. When the local barber recognizes him from ‘days passed’, Todd kills him. In the panic of the murder’s aftermath, it is Mrs. Lovett that has the brilliant idea to ‘think of it [the body] as thrift, as a gift’, and to dispose of the corpse by using it for her pies. The shop becomes an instant success and allows both Todd and Lovett to see their dreams (nightmares) come true. But, as Sweeney himself sings, “what happens next, well that’s the play, and he wouldn’t want us to give it away”.
The cast of Sweeney Todd all do wonderful jobs. Their collective presence adds in subtle details that help to set the Victorian era mood. Serving as part narrator, part Greek Chorus, and part of the gothic background, the Ensemble of the show all deserve a shout out for their excellent supportive performances.
Judge Turpin and the Beadle (a constable) are the real villains in this show. The Beadle (played by Jason Weitkamp) is the sidekick to the judge, but holds his own as a persona of corruption. His menacing stage presence works well for this character. Mr. Weitkamp’s voice hits the soprano notes of “Parlor Songs” very well. Judge Turpin (played by Sean David Cooper) is the antagonist of the show. His impression is more subtle with a quiet undertone of evil. Mr. Cooper’s voice is rich (reminiscent of Jeremy Irons) and adds the “creep factor” needed for the character.
The cast of Sweeney Todd: The Demon Barber of Fleet Street at The 5th Avenue Theatre. (Photo Credit: Mark Kitaoka)
Johanna (played by Leslie Jackson) is Sweeney’s daughter, raised as a ward by Judge Turpin. Ms. Jackson is a delight to watch and hear. Her soprano voice is beautiful and she excels when singing the allegorical song “Green Finch and Linnet Bird”, or the comical panicked duet “Kiss Me”. She shows the girl’s naivety to the judge’s lechery, yet displays an ingenue’s passion to escape with her sailor love. Anthony (played by Deon’te Goodman) is the sailor that rescues Sweeney, and falls in love with (unknowingly) his daughter, Johanna. Mr. Goodman is perfect for this role. He brings an enthusiastic energy to the ‘young sailor’. His voice easily rolls through the theatre and shines when singing the enthusiastic return in “No Place Like London”, or in the heartfelt, lovesick song “Johanna”.
The local barber Pirelli (played by Jesus Garcia) adds a good deal of the comic relief in this dark musical. His character is a peacock, and Mr. Garcia brings the right amount of strut and pomp needed. His voice works well in the delightful comedy, “The Contest”, and adds a touch of the melodramatic villain when he recognizes Sweeney from earlier days, and tries to blackmail him. Pirellis’s assistant is a young boy named Tobias (played by Nik Hagen). Mr. Hagen shows the balance of an innocent boy being swept into a darker purpose. His voice is enthusiastic when singing “Pirelli’s Miracle Elixir” and easily sweeps the audience up within the song. He shows the young lad’s fear, concern and desire to protect his mistress in the tender lullaby “Not While I’m Around”, and delivers without the song becoming schmaltz.
The Beggar Woman (played by Porscha Shaw) is the mystery of the show. The character’s seediness and desperation show as Ms. Shaw brilliantly channels the poor creature’s madness. Ms. Shaw’s stage presence is duly noted in this role. Her depravity is delightful, as she maniacally switches from a poor woman begging for alms – to a wicked seductress, trying to earn a coin. Ms. Shaw is a relatively new addition to the 5th Avenue Theatre’s recent productions, and she is most welcomed.
Mrs. Lovett (played by Anne Allgood) is the perfect counterbalance to the vengeful Mr. Todd. Ms. Allgood is a staple of both Broadway and Seattle’s theatrical scene, and for good reason. Her comedic timing is right on point. She embraces her character until it possesses her on stage. We, the audience, are lucky enough to see the transformation’s results. Ms. Allgood’s voice rolls with the rapid pace of Sondheim’s lyrics in “The Worst Pies in London” as easily as she does in the patience encouraging, and heartfelt “Wait”, and the comedically manic song “By the Sea”. And she manages to do all of this without losing the menacing undertone the character demands.
The title role of Sweeney Todd (played by Yusef Seevers) is of course, the main star. His stage presence is menacing without being over-the-top. Mr. Seevers’ voice is deep and rich when lamenting “The Barber and His Wife”, or the slippery succumbing to madness in the revelations of “Epiphany”. Mr. Seevers takes us on his terrifying journey, and we gladly go along for the melodramatic, yet highly enjoyable ride of revenge.
The costumes (costume designer Danielle Nieves) are more Victorian Steam-Punk than simply of the times. The effect hits the mark and adds a touch of gothic darkness to the production. The stage design is simple and consists mainly of scaffoldings and platforms. That too works well as it doesn’t detract from the majesty of Sondheim’s music or lyrics, nor does it take away from the stellar performances of those on stage. Another shout out to the conductor – this show should never be done with less than a full orchestra, and Maestro Matt Perri does a great job leading one.
A few musical changes were noted. Judge Turpin’s song (which is an optional addition) “Johanna” has been removed. This is often due to the length of this show, and its presence (or lack of) is usually considered to neither add nor detract from the storyline. While the shaving scene (which is ever so important) is left in “The Contest”, the ‘tooth-pulling’ part of the song has been deleted. Again, the assumption is because the running time of the show is roughly two-and-a-half hours. The lack of these numbers would only be noticed by dedicated Sondheim fans, and their absence does not detract from the beautiful production. That being said, the “Beggar Woman’s Lullaby” (written for the London production) is included in the “Final Sequence”; a bonus for the average theatre goer, and a very pleasant surprise to the dedicated fans of the musical.
The only thing to detract from the wonderful enjoyment of the show was simple and miniscule. The barber chair is set apart from where the barber’s victims slide down to the bake house. Here, the people (after having their throats cut) must side-shuffle across the platform before they can slide down the chute. It may be a necessary evil of staging, but it does seem a tad comical in an unintended way.
Sweeney Todd was a legend that emerged in Victorian England, in the mid-to-late 1800’s. Several sources note the origin to coincide with Jack the Ripper’s misogynistic murders. The story emerged in the “Penny Dreadful” publications of the times. The story emerged in many different versions over the years, and in as many variations of viewpoints, characters and endings, but always as a cautionary tale of obsession and revenge. In 1973, Stephen Sondheim was in the audience of Christopher Bond’s English melodrama, “Sweeney Todd: The Demon Barber”. It was this source that primarily influenced Sondheim’s “dark operetta”.
Sweeney Todd: The Demon Barber of Fleet Street originally opened on Broadway March 01, 1979 and ran for over a year. The original cast included Len Cariou (Sweeney), Angela Lansbury (Mrs. Lovett) Victor Garber (Anthony) among others. It was nominated for nine Tony Awards (1979) and won eight including Best Musical, Best Original Score (Stephen Sondheim) and Best Actor/Actress in a Musical (Len Cariou/Angela Lansbury). It has been revived three more times including currently. A film version (with Johnny Depp and Helena Bonham Carter in the lead roles) was released in 2007.
Sweeney Todd: The Demon Barber of Fleet Street
5th Avenue Theatre
Through May 14, 2023
Get more info and tickets here.
