Sweeney Todd: The Demon Barber of Fleet Street Rating
★★★★★
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Musical theatre is as strong as ever in Melbourne, and Sweeney Todd: The Demon Barber of Fleet Street is a testament to that.
This spectacular Sondheim musical is an absolute must-see, but is only on for a limited season, playing at Chapel off Chapel, through Soundworks Productions.
Based on the fictional character, Sweeney Todd, this dark thriller follows a blood-thirsty barber in 19th century London.
After his return from serving several years in Australia for a crime he was wrongfully committed for, Benjamin Barker, a talented barber, discovers his wife is deceased, and his daughter is kept as a ward from the Judge who had wrongfully accused Benjamin of his crimes (and raped his wife).
This leads Benjamin Barker to change his name to Sweeney Todd, and side-up with his downstairs pie-making neighbour, Mrs. Lovett, with a plan mutually beneficial plan to get back his daughter, Joanna with the help of a young sailor, Anthony Hope, and to turn Mrs. Lovett’s pie business around for the better.
What results is a story of revenge… and a lot of murders!
The talented cast crafted their character to perfection, leading to compelling and captivating performances across the board.
The lead actors were mesmerizing with their performances, bringing the audience right into the world of the characters in this dark and haunting story.
The musical is bursting with memorable songs, catchy melodies, lyrics that are both disturbing and often hilarious, and masses of energy.
The live orchestra did a fantastic job of bringing Sondheim’s music to life along with the outstanding vocal performances across the entire cast.
The set was beautifully designed and lit, providing a feast for the senses, and really enhancing the emotional rollercoaster the audience are taken on throughout this musical.
The special effects (yes, there is a fair amount of blood at times) were effective and convincing.
The pie oven scene at the end was well done; a simple set-up, but it was made to seem so real on-stage, enhanced by the knock-out cast performances.
There was a beautiful section where two ballet dancers performed as birds, which gave such a lovely reprieve from the darkness, that is, until you realised the dark undertones of that scene!
The attention to detail was evident across the board in this musical; from the acting and vocal performances to the costumes, set, and direction – this really is a thoroughly entertaining and enjoyable show.
This Tony award-winning musical is definitely a highlight for the 2026 musical theatre calendar in Melbourne, so make sure to not miss out on this high-quality production.
Sweeney Todd is running at Chapel off Chapel until September 20. At the time of this review being published, the entire season has sold out, but take any chance to get your hands on a ticket if you can!
Opening night of Sweet Charity at Chapel Off Chapel, Friday, 19th June, 2026.
Heirlume Productions presents the iconic Bob Fosse musical, Sweet Charity, with support from Forest Collective, the award-winning Australian arts organisation founded in 2009 by composer and conductor Evan Jay Lawson. Playing at Chapel Off Chapel from 18 to 28 June, this production brings together Heirlume’s theatrical vision with Forest Collective’s musical expertise in a successful and masterful collaboration.
Sweet Charity, written by Broadway legend, Neil Simon, with a great score by Cy Coleman and lyrics by Dorothy Fields, has always been a musical fan favourite.
Taken from the plot of a 1957 Italian film about a streetwalker, Nights of Cabiria (Le notti di Cabiria), Simon’s musical rendition kept four of the film’s landmark moments. Conceived, staged, directed and choreographed by Bob Fosse for his wife, the irrepressible Gwen Verdon, Sweet Charity premiered on Broadway, New York, in 1966 and was nominated for nine Tony Awards with a win for Fosse’s unmistakeable quirky and technical choreography. Let’s just say, Fosse made it his own.
So, no surprise the opening night audience at Chapel Off Chapel were bustling with excitement ready to soak in its many hit songs and, to experience that fabulous Fosse feeling, however, we were not prepared for how tight, fabulous and professional this production and its cast were going to be.
Director, Madison Lee, has reinvigorated the beloved characters and legendary score with a “queer love story and a tale of self-acceptance.” In her Program Director’s Note, Madi reminds us that “Charity Hope Valentine is a woman who wants to be loved completely resisting against a world that has given her very little reason to keep believing….” Except for, “…her chosen family, the people who hold us when we get back up and remind us who we are when the world tries to tell us otherwise.”
Lee has directed a female ensemble so strong and diverse, most playing multiple parts, I haven’t seen the likes of together in years:
Experienced VCA graduate, Erica Wild, fresh back from West End, U.K., embodies Charity Hope Valentine with honesty and sweetness. Wild is hardly ever offstage but gives everything she has to this role, with all her innocence and energy. She is easy to love.
Producer, Heirlume founder and Productions Artistic Director, Manda Rozen-Flannery, says of Charity, “…something feels inherently neurodivergent … about her.” Wild captures this perfectly.
Wild is supported by second leads, Madeline Pratt as Nickie and Hannah Gutierrez Cañon as Helene, playing two seasoned dance hall girls weathered and baffled by Charity’s naivety.
Choreographer and educator, Pratt is powerful in singing, acting and dancing.
For Cabaret performer and former National Latin dance Champion, Cañon, new to the Musical Theatre industry, her dance expertise is obvious.
As is the dance talent of Tyler-Rose Shattock, who charmed us as an excellent Frug Girl in the nightclub scene. Shattock also stands out with all her other characters.
Extremely talented and versatile Sara-Louise Younger plays both the Herman and Daddy characters. Her version of ‘Rhythm of Life’ along with the whole cast, was simply transformational. Singing gospel one minute and opera the next, her range and voice is unique to Australia.
Supported by Alessandra Negro as Ursula, Eden Holmes as Carmen, Lisa-Marie Coad as Betsy and Bridie Erwin-Keirl as Rosie, all playing multiple other roles, the hard work and camaraderie of the whole troupe beams and was just a pleasure to watch.
Clancy Enchelmaier plays the only three male roles, from Charity’s bad choice of boyfriend at the start to movie star, Vittorio, to romantic lead, Oscar. His distinguished voice and range is strong.
This show is also excellent creatively:
The audience was delighted with Jesse Matthews’ choreography. He is resident performer and choreographer for Forest Collective. Matthews paid tribute to Fosse’s unmistakeable 60’s style keeping the line of the classic number, ‘Big Spender’ while adding a touch of difference. Even in this smaller production, the choreography shines and was one of the highlights of this show.
The iconic dance scene from the Sweet Charity movie, titled, “The Aloof” is a perfect blend of elegance, satire, and stylistic brilliance in storytelling. There is no expression on any of the dancers’ faces in “The Aloof”, however, in this production, Matthews / Lee have decided to arm Shattock’s Frug girl with sexiness and smiles, energising us into the vibe of a nightclub, also switching us away from the dim of the dance hall.
Forest Collective Artistic Director, contemporary composer, singer and conductor, Evan J Lawson, and Composer, Pianist and Musical Director, Max Kielly are co-musical directors on Sweet Charity and are sharing time in the conducting of the orchestra, with Orchestrator, Shanon Whitelock. It’s obvious this has been a very successful collaboration.
An energetic score that is usually undertaken by a full orchestra has been executed with precision by this award winning and versatile crew of six musicians, Thomas English on woodwind, Bodhi Scott-Jones on trumpet, Max Kielly on keys, Felix Gilmour on percussion, Benjamin Lamb on guitar and Ian Crossfield on upright & electric bass.
The shows’ Costume Designer, Zachary Dixon, has pieced together items that tell a story throughout each scene, from Charity’s gingham print summer dress – she probably wore from her hick town into the big city dance hall for work – to Nickie and Helene’s Lingerie variations, to Daddy’s hippie church group collections, the costumes are colourful and timely in the best way.
Lighting Designer, Ruben Laine, Sound Designer, Lukas Battey and stage manager, Samara Louise have connected all of these dots seamlessly to present to us a stage of scaffolding representing the dance hall above and the dressing rooms below, as well as the highs and the lows of their lifestyle.
I enjoyed this show so much, I may attend once more. If you can get tickets, hurry up and get them now before they sell out. This show is not to be missed.
The Haunting of Spook Mansion follows author and ghost sceptic, Prof Adrian Chambers (Peter Houghton). Chambers is approached by Beth Jackson (Emily Taheny) with an offer he cannot refuse, $500,000 for him to spend the night at Spook Mansion! Chambers reluctantly accepts the offer, and haunting ensues. Haunting if full of silly puns and not too scary jump-scares, which are terrifically balanced by the chemistry of Houghton and Taheny.
To get to my seat for this show I entered through the stage, which effectively began the immersion into the spooky haunting. The energy in the room was electric. Beginning slowly as a silly parody of a spooky movie, this show leans into horror tropes to subvert expectations and heighten the impacts of the truly scary things in life, emotional vulnerability and death! Spook Mansion is truly camp core. At 75 minutes with no intermission, this silly show was the perfect length, allowing for some thrills, and lots of laughs.
Directed by Russel Fletcher, the technical timing and coordination set up the audiences to enjoy the right amount of haunt; with minimal screams and maximum emotional impact. The tight direction combined with excellent lighting (Jason Bovaird) and sound (Stephen Gates) meant I was sufficiently spooked throughout the show. The sound and lighting allowed the twists and turns to make a powerful impact. The decision to have complete blackouts between scenes allowed Bovaird to enhance the lighting impact, and deepen the spooky story telling.
The characters of Spook Mansion are met with a wild evening, filled with stories and inevitably numerous puns. Michael Ward (writer and producer) fit as many puns the show could accommodate. Ward did this in an attempt to cram Spook Mansion full of jokes, leaving it relatively free of spirits from the great beyond. Ward defaulted to storytelling as a dependable way to scare the audience. Ward and Fletcher utilised the characters themselves, rather than cheap scary tricks, to push and pull the tension of the show. Ward and Fletcher commendably conveyed the real horrors of the world, not complying to mandatory health and safety audits.
Stepping through a light haze in Chapel Off Chapel’s Loft, into the twilight world of The Forgotten Songbook instantly transports the audience to bygone era of music-making. The set, dressed simply but evocatively with a piano, a few furniture pieces and faded posters of long-forgotten musicals like Vienna Days and Girl Leaves Boy, conjures a smoky dive bar in the middle of nowhere and everywhere. It’s the perfect frame for a show that unearths the dazzling, almost unbelievable, fragments of composer Wilbur Weissman’s lost career.
What follows is a two-act whirlwind of longing, misfires and brilliance, pulled together by a creative team whose passion for Weissman’s story pulses through every beat.
Emerson Hurley’s compositions form the heartbeat of the show. Sitting at the piano with a relaxed command, Hurley not only plays with casual virtuosity but delivers a score that is tuneful, witty and remarkably affecting. His pastiche writing honours the Tin Pan Alley style while crafting songs that feel entirely fresh. “I’ll Never See Memphis Again” is one of the evening’s most poignant moments, unveiling emotional depths in both character and composition that stop time. Hurley may be at the beginning of his career, but The Forgotten Songbook suggests a voice with the sophistication of a modern-day Gershwin, or dare I say Weissman? Either way, he has the originality to stand on his own.
Co-writer and producer Dylan McBurney brings theatrical structure and dramaturgical clarity to this sometimes chaotic rollercoaster tale. The narrative, full of unexpected turns (a hippo attack??) never wavers in purpose. It’s comedic and poignant in equal measure, an impressive feat that speaks to the balance and restraint of McBurney’s work.
In his debut as director and choreographer, Mikey Halcrow crafts a staging full of flair and control. He uses stillness to great effect, allowing quieter moments to resonate and leans into the physicality of the performers to heighten the absurd and the powerful beats. The rapid pace never falters, but the show knows when to let a moment land and when to let the music speak for itself.
Karla Hillam gives a stellar performance. Channelling the style and swagger of a classic torch singer, she moves with elegance and sings with great versatility. Her character work is razor-sharp, shifting styles and personas with impressive precision. Her natural chemistry with co-star Jonathan Guthrie-Jones anchors the piece. Together, they deliver both belly laughs and broken hearts.
Guthrie-Jones, in turn, feels like a Hollywood leading man of yesteryear brought to life. His rich, beautifully controlled voice wraps itself around the material with ease and his performance is laced with charisma and genuine vulnerability.
Together, the cast form a dynamic double act (or trio including Hurley at the piano), effortlessly slipping between satire, drama and song. Their rendition of The House Un-American Activities Rag is a showstopper. It’s choreographically tight, musically rich and laugh-out-loud funny.
The Forgotten Songbook is more than a showcase. It is an excavation of talent, myth and memory. In a country where new musical theatre often struggles to find space, this piece deserves to travel far beyond its opening weekend. Don’t miss it and don’t miss seeing the work of any of this team in the future.
