Attend the tale of Sweeney Todd! Considered by many to be the definitive Stephen Sondheim musical, 'Sweeney Todd, The Demon Barber Of Fleet Street', to give it its full title, is also perhaps his most difficult in terms of score and characterisation. I have known professional theatre companies fight shy of it, and so for it to be included in the performance schedule for a sixth form college (albeit the premier Performing Arts college in the north), was a huge risk and was what is colloquially known as a very big ask for the students. Having playing the role of Tobias myself (many years ago now), I do know the score and the technical difficulties involved, and so when I heard that this college were to perform it, I was both intrigued and shocked - I just HAD to come along and see it for myself.
Written by Sondheim as a 'Musical Thriller', meant to be kept quite intimate and dark, there is black humour and murder aplenty. The story follows Sweeney Todd (formerly Benjamin Barker), who was transported to Australia because the local Judge lusts over his wife, Lucy, and wants her for his own. They have a year old baby girl at the time, and the Judge raises her (Johanna) as his ward. However Todd escapes captivity and finds passage back to London along with a young sailor who saved his life (Anthony). On arriving back in London he aims to wreak revenge on all who have wronged him and find his Lucy and Johanna again. However, things don't exactly go to plan....!
On walking into the theatre this evening we were presented with a large open set; very black, Gothic, and eerie. Two sets of steps either side led to a walkway at the rear and the barber's shop on one side, whilst the main playing area became the pie shop and al other locations. It was an interesting set and well designed. Much thought and time had gone into its creation although I do not think it was optimal m- especially have the oven so far away from the rest of the bakehouse, and not using the curtained space on the corresponding side to the barber's on the upper level. Certainly the oven needed to be "hotter" and more jeopardy and danger needed to be created around it - it was just an empty cupboard from where I was seated with no flames within at all. The sound level were excellent throughout, and we were able to hear all the wonderful and intricate harmonies from the ensemble equally. A couple of microphone glitches this evening, but these can be overlooked and forgiven. The lighting design was excellent and worked truly well throughout - I loved the swirling maelstrom effect just after the opening sequence. Subtle and effective use of Haze helped the mod throughout too. Musically, the score was in very safe and secure hands (Nathan Jarvis); it was such a pity that the orchestrations had to be pared down so much in places in order to accommodate the college's band. Costuming was a little strange at times, although mostly it worked nicely. Certainly if the company were wanting realism in their costuming, then Todd's black leather jacket should have been reconsidered, and the Beadle certainly needed a neckerchief and more of a 'uniform'. More scarves / coats and certainly more hats were required too. However, this did not detract from the overall 'feel' of the show. My only other costuming concern was the very obvious wig-line across the forehead of Johanna. Very obvious and off-putting unfortunately. Props were generally good and worked well, although I would have removed the tinfoil bases from the pies before bringing them on stage... aluminium foil was not around then.
And now to the cast...
Pendleton College seems to be blessed. Every time I go there I am blown away by the amount of talent these 16 - 18 year old show. There are still two of their past productions which feature on my all-time Top Ten versions / productions of those particular musicals [namely 'Les Miserables' and 'A Chorus Line'], and so - with the bar being already set very high, I had high hopes... and, not to keep you in suspense any longer, I was not in the slightest disappointed.
Taking the immense leading role of Sweeney Todd himself - a daunting task for anyone, let alone a sixteen year old! - was the talented Alex Farrar. If I have to be critical at all here, then he is too morose and deeply engrossed in his singular mission right at the start, so that when he learns of the 'death' of his wife and the fate of his daughter, there is nowhere for him to go. He was also missing a lot of the humour in the lighter sections too. However, he is obviously an accomplished performer, and worked well with Mrs Lovett, nicely being the ying to her yang. Mrs Lovett was portrayed by Olivia Triste, and she was a pure delight from start to finish. I am old enough to remember Angela Lansbury originating the role and Triste was certainly channelling Lansbury in her performance - pure gold. Jessica Hughes was a very lovely and plaintive Johanna hitting the high soprano notes with ease. Whilst Seb Holbert as Anthony proved to be both an excellent foil for Todd and a perfect match vocally for Hughes, upright and righteous, agitated and animate, and their love scene together was a joy, their onstage chemistry was electric. Betty Sidebottom's Beggar Woman was excellently measured and she made the most of her role with glee. Again, an obviously talented actress who understood her role and created a truly nuanced performance. Judge Turpin was performed by Jake Hornsey, whose mock piety and sexual desires finally got the better of him. Nicely measured and not too dark, which worked well against his Beadle, played by Oliver Price, who was much more of a hired thug than I have seen in other productions. His quiet menace and unprovoked muscle were excellently portrayed and he has a very commanding stage presence. Thomas Cunliffe was the 'Italian' mountebank Adolfo Pirelli, whose character change was a delight. A nice understanding of his character and how he fit into the story and again made a perfect pairing for his sidekick, Tobias, performed by Toby Perks. Perks's character growing with his every entrance as his confidence in who he was (as his character) becomes clearer.. going from a scared assistant to a violent master, to a trusted employee, and finally an understanding (albeit slightly wrongly understood) of the machinations of Todd and Mrs Lovett's presumed lack of knowledge, leading to his ultimate downfall. The asylum warder, Fogg (actor uncredited) also made the most of his small cameo. I was very impressed by the quality of the singing too - young voices which have not yet fully developed being tasked into singing a score which is technically demanding with a very wide range for all vocalists. Pirelli and Beadle having to give their falsetto range a good airing! The ensemble was tight and secure, and again both vocally and physically worked superbly to create the backdrop of the score and story.
With a rehearsal time of only six weeks (rehearsals scheduled around their normal studies!), it is a miracle that anything at all is performance standard; however, the students here are obviously very open to directing and learning their craft, whilst the dedicated creative team push them to their limits, knowing that the students will respond with alacrity. Director Ian Bennett and choreographer / vocal coach Sophie Tehrani truly has their work cut out from day one; but I am more than happy to write that miracles do sometimes happen, and the end product of this musical is testament to that! What a final production for this year, and cannot wait to find out what the school plans to produce next season!
Reviewer - Alastair Zyggu
on - 15.5.25
No comments:
Post a Comment