Sweeney Todd has again emerged from the shadows into the Melbourne limelight, with audiences greeting this season’s combined Victorian Opera and New Zealand Opera cast with rapturous applause.
Directed by Stuart Maunder, Sweeney Todd unravels the story of a twisted barber who returns to Victorian-era London after being unjustly forced into a 15-year exile. Todd returns with vengeance, committed to finding his wife and daughter, but on his arrival is instead snatched up by the obsessed, and whimsically mad, Mrs Lovett, owner of the Fleet Street Pie Shop. Sweeney Todd’s initial plan quickly turns grotesque when he opens his Barbershop above Mrs Lovett’s Pie Shop and embarks on an evil murderous rampage.
The pair devise a plan to fill Mrs Lovett’s meat pies with the flesh of Todd’s victims, which has fleeting success before spiraling into tragedy. As Mrs. Lovett becomes deeply infatuated with the barber, Todd himself is one-track-minded in rescuing his daughter Joanna from the local Judge and punishing Judge Turpin for his long-time iniquity of Sweeney and twisted fantasies for Joanna. The barber finds himself causing irreversible damage as he and the audience embark on a journey of mounting obsession and evil desire.
The production is enhanced by the exceptional casting selections of its lead characters, who are utterly perfect for each role. Vocal technique and proficiency were certainly in their prime among the classically trained cast, and it was a joy to witness Sondheim’s iconic score performed with such accomplishment.
The audience was instantly charmed by this season’s Sweeney Todd. Ben Mingay impressed audiences with his unlimited vocal prowess and loyalty to the deeply troubled Mr Todd. Devotion to the complexity of Todd’s character was evident throughout Mingay’s portrayal, and in the ballad “Epiphany” audiences were left stunned by the singer’s astounding vocal range.
Mrs Lovett, played by Antoinette Halloran, was a stand-out performer who was able to both bestow her musical magic upon the audience and yet accurately fulfill the personal and vocal sensibilities of an unhinged middle-aged woman living alone in Victorian-era London. Her delivery of the comically self-deprecating “Worst Pies in London” was heartily received by the audience.
Tobias, the adoringly protective orphan son of Mrs. Lovett and Mr Todd, was nailed in every sense by the talented Mat Verevis. The delivery of Tobias was boldly vulnerable and moving, as Verevis single-handedly decelerated the production to reveal an impending tragedy.
Costume and stage set design is led by Roger Kirk and contributes significantly to the overall polish of the production.
Perhaps one of the most iconic and challenging sets in all of Sondheim’s work is featured in the live staging of Sweeney Todd. As Mr. Todd and Mrs Lovett embark on an evil plan of collaboration, the circling stage set is turned into a multi-dimensional work of art. Praise is due for the immaculate delivery of Mr Todd’s hysterical barbershop chair, featuring a trap door into the basement of Mrs Lovett’s bakery.
The on-stage murderings typically prove to be another point of challenge (and contempt) throughout the production of Sweeney Todd, however, this staging seems to do it rather well. There was a reputable balance between well-illusioned and shocking bursts of fake blood, and yet also a total sense of control over every one of Mr Todd’s slaughter scenes.
At the conclusion of the musical, it was heartening to see the orchestra members and conductor Phoebe Briggs brought to the stage alongside the cast during the final curtain call – a rare and gracious nod to their unseen yet devoted duty to Sondheim’s musically complex score.
Overall, The Victorian Opera and New Zealand Opera cast delivered a staging of Sweeney Todd that was both creatively empowering and loyal to Sondheim’s original vision. The production is a must-see, and must-hear experience, with shows running at Melbourne’s Arts Centre until September 21.
For Tickets, book online at https://www.victorianopera.com.au/production/sweeney-todd/
Remaining Dates & Info
Tuesday 17 September, 7.30 pm
Wednesday 18 September, 7.30 pm
Thursday 19 September, 7.30 pm
Friday 20 September, 7.30 pm*
Saturday 21 September, 2.00pm, 7.30pm
Duration
2 hours and 45 minutes, including an interval
Language
Sung in English
*Audio description and tactile tour.
Do you or a member of your party need to access Audio Description for this performance? Register here to reserve a wireless receiver pack and ear piece and/or attend the Tactile Tour.
Age Recommendation
Suitable for ages 12+, parental guidance is highly recommended.
