SWEENEY TODD

PAP Productions

Director: Paul Lawton

Musical Director: Paul Wilson

Choreographer: Amy Walker

 

The tale of Sweeney Todd, the Demon Barber of Fleet Street is one of those “Penny Dreadful” favourites telling the tale of a revengeful, murderous, barber who meets a pie shop owner, the result of which meeting is that the barber’s clientele end up as meat for the pies. This tragedy highlights how the lower classes were looked upon; there was no value of life. This bloody tale is the perfect melodrama which is depicted by its presentation and interpretation.

 

The intimate Festival Theatre, Hyde, brought the audience into the production allowing the stripped back staging to allow the words and music to be centre stage. The set was simple which added to the overall melodramatic atmosphere. The sense of period was followed through by the costumes, hair and make-up. There was a kind of eeriness in the presentation that gave a platform on which the characters were able to develop. I am sure that most theatregoers will know how the infamous barber’s chair works; to have it shoved on from the wings was as brutal as the murder of the victims who sat in it. The lighting (Paul Wilson) and sound (John Redfern) gave that extra edge to the dark story.

 

The casting was so strong. The piece requires actors who can sing. and singers who can act. Musically, Sondheim’s gothic musical was lifted of the page. The members of the ensemble were all individual characters believably capturing the soulless lives they led.

 

It is Judge Turpin who holds the key to the wrongful deportation of Benjamin Barker, now returned from Australia as Sweeney Todd. Turpin it was who contrived to seduce Todd’s wife and to marry the daughter, Johanna. Chris Robinson, as the corrupt judge created a middle class authority over his evil intentions but whose heart is the darkest in this sorrowful tale. After her encounter with the judge, and his male friends, Lucy, Todd’s wife, loses her mind and walks the streets as a beggar woman. Samantha Kierney delivered the pathos and gave a glimpse into the reality of the times. Looking after the Judge’s. and his own. interest is Beadle Bamford. Gavin Chadwick was so slimy, with menacing snake like body movement highlighting the fact that the Beadle was not to be crossed.

 

As Mr Todd is establishing himself as the barber who will give you, “the closest shave you have ever had,” he came up against an old colleague, the mountebank barber, Pirelli. This street entertainer was brought to life by Joseph Gallogly. Pirelli’s assistant is the young Tobias Ragg, who goes on to serve Mrs. Lovett. Benjamin Lythe, as Master Ragg, is steadily learning his craft, and he gave a fully rounded and convincing performance.

 

Saving Sweeney Todd when he was adrift at sea “Jolly Jack Tar” Anthony becomes a friend. Nick Ward, as mariner, Anthony, and Helena Stanway, as the tortured Joanna, were truthful in their hope and belief that they will escape the Judge.

 

Mrs Lovett provided “The worst pies in London,” until Sweeney supplies a new filling, thanks to Mrs Lovett’s suggestion. Lou Steggals, as the pie baker, gave a 19th century music hall interpretation of the role which captured the essence of the character. Despite all the bloodcurdling stuff, all she wants to do is to cosy up with Sweeney “by the sea”.

 

In the demanding role of Sweeney Todd, Rob Haslam was brooding, with a fixed facial mask that showed no emotion. Rob gave a memorable Sweeney; he made him so cold, so calculating with just one thing on his mind, retribution, until this obsession consumes him.

 

“I tell the tale of Sweeney Todd”: PaP Productions, and its company, did just that and created a stylish, musical thriller.