Liverpool’s Royal Court Theatre played host this evening to one of my favourite clever musicals (well, what else would you expect from Sondheim?) and BOST’s production of Sweeney Todd didn’t disappoint (even if you are welcomed and allocated your seat by two burly bouncers!)
With a deep-toned opening by a member of the ensemble (Mike Eccles?), we are welcomed by the chorus with a rousing ‘Ballad of Sweeney Todd’. Although the lead character’s first appearance is during the song, I expected his entry to the first ‘scene’ to include him wearing the iconic long pirate-like coat but alas, his only costume change was over the interval. I may, as many would but shouldn’t, be asking too much for a match to Tim Burton’s film version starring Johnny Depp, even if seasoned leading man Tony Prince’s portrayal did play to the accent and manner of the Hollywood star, with this deep and husky voice.
Along with the title character, the other iconic character is that of Pie Shop proprietor Mrs Lovett played brilliantly by Gina Phillips. Her characterisation was less Burton and more Tottie from Wallace and Gromit but it was entertaining nonetheless. Her vocal ability was lovely, whether in solo or in duets. Sweeney’s shipmate Sailor Anthony (Mark McManus) and his love interest - Sweeney’s daughter - Johanna (Sarah Carroll) also had lovely voices and performed well and her ‘father’s’ right-hand man Beadle Bamford (Michael Pearson) also had a nice range and tone. Johanna’s ‘father’ is the smarmy and slightly perverted Judge Turpin (Frank Nance) who ‘took (an interest) in’ her mother (Sweeney’s lover) Lucy when he was sent away to serve a sentence. He also has a nice deep voice.
Whilst most of the voices within the show are of high quality, I did not think much to Signor Pirelli (Chris Simmons) whose accent went from Italian to more American than Irish when he revealed his true self before meeting his match and ill fate. His ‘apprentice’ Tobias (Brian Comer) has a maturer voice for his age and held himself well throughout. The Beggar Woman (Pat Davies) - who may appear random at the start but is key as the story progresses - was, whilst not always as the score reflects, well-portrayed also. Carl Loughlin, Anthony Pude and Jennifer Swanepoel provided cameos.
Other than sight-lines and the distraction of movement even from behind a curtain(!) and lighting, there were very few technical issues. The sound (Daniel McAllister) was hiccough-less and the band did their best to keep up with the fast-paced compositions of Stephen Sondheim, under the direction of Tricia Gaskell and it was clear that the direction from society president Elsie Kelly was minimal but taken on-board. The innovative set was well-used.
After a recent £7m refurbishment, flyers promise that it has ‘improved the whole experience’ and the bar - viewable from the St John’s Centre outside - certainly lures you in with intrigue. Food is offered in the cabaret-style stalls area and the stage-facing tables at the back of the stalls are convenient not just for writing notes but also because I kept leaning forward to observe the action.
With showstoppers and cleverly written pieces like ‘The Worst Pies In London’, ‘Johanna’, Not While I’m Around’, A Little Priest’ and ‘By The Sea’, it is no wonder that the show has won 10 Tony Awards including Best Musical! Get to The Royal Court for this tantalising thrilling treat before Saturday.
Reviewer - John Kristof
on - 4/10/18
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