From the dark, seedy nooks and alleyways of the foggy set, and creepy opening organ music to its tragic ending, Sweeney Todd: The Demon Barber of Fleet Street takes us from pathos to camp and back again in this story of one man’s singular and bloody drive for revenge gone horribly astray.
With music and lyrics by Stephen Sondheim, book by Hugh Wheeler and adapted by Christopher Bond, this particular trip to the dark side of Fleet Street comes courtesy of the folks at Alexander Showcase Theatre (ASL), directed by Vincenzo Sestito, with music direction by Gwyneth Sestito and choreography by Jaime Robertson – running now at the Al Green Theatre. ASL’s Sweeney Todd features a cast of thousands, with a fine and energetic ensemble, and an outstanding core cast that includes some familiar faces and voices.
As the titular infamous barber, Patrick Brown (back with a fright wig hair style last seen when he played the title role in ASL’s Young Frankenstein) gives a compelling portrayal of a man both frozen with grief and seething with rage, the layers of heartbreak and guilt showing beneath the bitterness and merciless sense of vengeance (so aptly illustrated in his ode to his collection of razors “My Friends”). As Todd’s landlady and partner in crime Mrs. Lovett, Sara Stahmer bursts onto the stage, buxom, raucous and larger than life, taking the piss out of herself and her pie shop as she shouts from the rooftops about “The Worst Pies in London.” A woman with secrets and desperately in love with Todd, she’ll do anything to keep him with her as their individual needs and desires marry into an unspeakable arrangement.
Seth Mukamal is diabolically chilly and repugnant as the tyrannical and corrupt Judge Turpin, a covetous and nasty man with a hint of the romantic (“Pretty Women,” an ironic and suspenseful duet with Todd). Jeremy John Yorga gives a great turn as Turpin’s right hand man Beadle Bamford, a sinister soul with a flair for flattery and a taste for quaint old tunes (“Parlour Songs” with Mrs. Lovett and Tobias). As the secret, put-upon young lovers Anthony and Johanna, Joshua Wales and Alexandra Reed have adorable chemistry. Reed’s beautiful crystalline voice in “Green Finch and Linnet Bird” is the essence of Johanna’s innocence and longing, and Wales’ soaring, heart-felt “Johanna” offers a glimmer of hope for these bright-eyed young people – brief moments of optimism in an otherwise hopeless and harsh world. Nina Mason is endearingly cocky as the boy Tobias, a seasoned salesman and showman despite his youth – and a lad with a crush, intent on being Mrs. Lovett’s protector (“Pirelli’s Miracle Elixir” and “Not While I’m Around”). As Todd’s professional rival, the pompous huckster Adolfo Pirelli, Darrell Hicks gives us a sly and slick charlatan with an amazing set of operatic pipes. And as the mysterious Beggar Woman, Sharon Zehavi gives a performance that is both bawdy fun and poignantly heartbreaking, skulking in the shadows, haunted by the vague memory of a former life (“Ah Miss” and “Wait”).
With shouts to set designers Peter Thorman (also Head Builder) and Beth Roher (also Head Scenic Artist), and costume designer Cheryl Lee for their evocative period creations. And to the ASL orchestra, a small but mighty force of fine musicians.
ASL’s Sweeney Todd is some bloody good musical macabredy fun with an excellent cast. Get on over to the Al Green Theatre for some darkly funny, thrilling good times.
Sweeney Todd continues at the Al Green Theatre until May 10; you can purchase advance tix online here.