SWEENEY TODD
There is no doubt about it, Chichester’s Festival Theatre has proved to be a hotbed of late for musicals worthy of West End transfer. I had seen neither Singin’ In The Rain or Sweeney Todd down south, and decided to sample them both within the space of a week in London. Each appeal in very different ways and I have high hopes for Kiss Me Kate at the same location this summer.
Jonathan Kent’s production oddly updates proceedings to the 1930’s though nineteenth century London provides the original setting. Todd returns following an unjustly administered exile, having changed his name from Benjamin Barker, to discover that in his absence daughter Johanna has suffered at the hands of the same lecherous judge who sentenced him to transportation some fifteen years prior. Revenge becomes the ultimate goal, a rented room above a Fleet Street pie shop the venue, and thrifty landlady Lovett the accomplice. An industry soon develops as the doomed are sliced, minced and baked in an effort to satisfy the eternal appetite of the pie shop’s growing clientele.
Imelda Staunton is the runaway star of this show as ruthless yet empathetic Mrs Lovett, giving a truly unmissable performance and placing her as a very strong contender for awards. A real on-stage fireball of energy at fifty six years of age, the production simply breathes on the dynamic and potent oxygen she fires into it. Humorous first act closing number ‘A Little Priest’ is zestfully delivered by Staunton in a superbly timed comic duet with Michael Ball who looks barely recognisable in the title role. He plays satanic Todd with grit and determination and proves menacingly adept at cut-throating, though a tad less imposingly daunting than perhaps he could have been. I suppose I did not expect to find myself liking the sinister character, that’s somewhat disturbing! Lucy May Barker and Luke Brady as would-be elopers Johanna and Anthony add romance and charm to the otherwise macabre narrative.
I sometimes struggle with Sondheim but this score is entirely up my street. With murder as the major theme, it’s black and melodramatic but he adds sufficient spring and bounce to raise the gloom so that the overall feel is uplifting. Musical director Nicholas Skilbeck has delivered an ensemble that rings with euphonic resonance.
Sweeney Todd is a very caliginous affair; the lighting and set designers illustrate this aspect with immense creativity, encorporating a huge iron structure comprising several levels and a revolving box housing gourmet pie maker Mrs Lovett and the upstairs barber shop. Every corner of the playing area is utilised by an impressively large ensemble who lurk in cimmerian shadows, giving the impression that they are everywhere at once by Mark Henderson’s cleverly-rolling spotlights, sensitively illuminating various nooks at will. This is a production where the darkness radiates through as much as the light so those who like to see facial expressions may wish to sit forward. The stage is both high and very tall, inevitably causing sight problems for those viewing from the front stalls, together with the rear of any level. I’m told that day seats are usually in the front row, perhaps best avoided if that indeed proves to be the case.
Jonathan Kent’s production oddly updates proceedings to the 1930’s though nineteenth century London provides the original setting. Todd returns following an unjustly administered exile, having changed his name from Benjamin Barker, to discover that in his absence daughter Johanna has suffered at the hands of the same lecherous judge who sentenced him to transportation some fifteen years prior. Revenge becomes the ultimate goal, a rented room above a Fleet Street pie shop the venue, and thrifty landlady Lovett the accomplice. An industry soon develops as the doomed are sliced, minced and baked in an effort to satisfy the eternal appetite of the pie shop’s growing clientele.
Imelda Staunton is the runaway star of this show as ruthless yet empathetic Mrs Lovett, giving a truly unmissable performance and placing her as a very strong contender for awards. A real on-stage fireball of energy at fifty six years of age, the production simply breathes on the dynamic and potent oxygen she fires into it. Humorous first act closing number ‘A Little Priest’ is zestfully delivered by Staunton in a superbly timed comic duet with Michael Ball who looks barely recognisable in the title role. He plays satanic Todd with grit and determination and proves menacingly adept at cut-throating, though a tad less imposingly daunting than perhaps he could have been. I suppose I did not expect to find myself liking the sinister character, that’s somewhat disturbing! Lucy May Barker and Luke Brady as would-be elopers Johanna and Anthony add romance and charm to the otherwise macabre narrative.
I sometimes struggle with Sondheim but this score is entirely up my street. With murder as the major theme, it’s black and melodramatic but he adds sufficient spring and bounce to raise the gloom so that the overall feel is uplifting. Musical director Nicholas Skilbeck has delivered an ensemble that rings with euphonic resonance.
Sweeney Todd is a very caliginous affair; the lighting and set designers illustrate this aspect with immense creativity, encorporating a huge iron structure comprising several levels and a revolving box housing gourmet pie maker Mrs Lovett and the upstairs barber shop. Every corner of the playing area is utilised by an impressively large ensemble who lurk in cimmerian shadows, giving the impression that they are everywhere at once by Mark Henderson’s cleverly-rolling spotlights, sensitively illuminating various nooks at will. This is a production where the darkness radiates through as much as the light so those who like to see facial expressions may wish to sit forward. The stage is both high and very tall, inevitably causing sight problems for those viewing from the front stalls, together with the rear of any level. I’m told that day seats are usually in the front row, perhaps best avoided if that indeed proves to be the case.
This recipe, mixing horror and humour as key ingredients, has resulted in musical theatre of a very appetising flavour and everyone should grab a slice. I doubt you will leave with a bitter taste.
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REVIEWED: 19/03/12
By Gareth Richardson @BargainTheatre
Booking until 22nd Sep 2012
Adelphi Theatre, London, WC2.
