Review: SWEENEY TODD – A BLOODY GORGEOUS RENDITION OF SONDHEIM'S MASTERPIECE ⭐️⭐️⭐️⭐️⭐️ at DeLaMar Theater

Simone Kleinsma had a little request. She wished to return the role of Mrs. Lovett one more time, 30 years after she played the role for the first time, oppose Ernst Daniël Smid as Sweeney Todd at the time.

Her wish was granted by producer MediaLane, and finally, on April 21st 2023 we get to revisit the bloody tale of Benjamin Barker aka Sweeney Todd once again. In a direction by Frank van Laecke, we see a refreshing new take on the famous musical.

What a delight it is to see Simone as Mrs. Lovett. The love for the role is palpable, and her comedic timing is a breath of air in the dark show. The tiniest remarks she drops, commenting on Sweeney, lovely. Absolute highlight, the duet between Sweeney and Lovett: A Little Priest. Lovett, as practical as indisputably still evil, is the one coming up with the plan to put some extra flesh in the pies. You can therefore argue who the true demon is in the story, which makes it even more interesting.

The Flemish Hans Peter Janssens is Sweeney Todd, which he plays as an unapproachable and tormented man, yet the love from his former life oozes throughout. After he meets Mrs. Lovett, he learns his wife Lucy has died tragically leaving him with one thing, a strong desire for revenge. His bass-baritone as Sweeney is incredibly warm and pretty, which is a beautiful counter to the horrors on stage. Pretty Women, the duet with Judge Turpin (a powerful Milan van Weelden) is, aside from the perfect harmony of both baritones, such an intelligent song.

A song so pretty, sung by Sweeney and his sworn enemy Turpin, with the knowledge we - the audience - have is one of the reason the late genius Stephen Sondheim was the master in his craft. Every song is layered, every song is a question and answer at the same time, wrapped in a silky-smooth exterior, yet ever so clever. Having the two sworn enemies connect on their common ground, their love for pretty women, while lingering danger is tangible. Chilling.

Green Finch and Linnett Bird, the ultimate soprano song, is executed so gracefully by Valerie Curlingford as Johanna. Her lyrical soprano is an absolute treat for the ears. Her Johanna is sweet and innocent, but still feisty.

Anthony (Jonathan Demoor), the young sailor captivated by Johanna, is looking to steal her away from her dark fate. The love anthem, "Johanna" in the first Act is pretty enough but becomes insanely gorgeous when 4 characters are harmonizing in the reprise of the song in the second Act. Sweeney, Anthony, Johanna and the beggar woman. A spellbinding performance, Musical Theatre ASMR. The orchestra, the staging, the vocals, brilliant.

The staging is in hands of Daan Wijnands. With the characters being on stage most of the time, going in and out of character to also perform the ensemble numbers, smart. It helps with the narrative of the tale of Sweeney, where they are as must a part of it, as they are an outsider. The décor is created by Carla Janssen Höfelt. It's an eerie set design, the ruins of a two-story prison, with as focus, the red leather chair, which serves multiple purposes throughout the story. The prison is not only literally, but also makes a figuratively point, as the characters can't seem to escape their dark fate. With the almost constant visibility of all of them, the lingering desires of all of them remain. Very smart way of storytelling.

Lone van Roosendaal plays the beggar woman. The tragic character appears and disappears, always asking for alms, and help in general. Constantly dismissed, she finds some friendliness given by Anthony but ever chased away by Mrs. Lovett. The beggar woman seems to recognize Sweeney from somewhere, but he doesn't give her the light of day. As the beggar woman, Lone gives a heartbreaking and intrueging performance, a broken and confused woman, as we learn of her dreadful fate. Was she all the wiser this time?

Samir Hassan as Tobias (Toby). He brings Tobias alive with a kindhearted soul, sweet and endearing, trying to prevent Mrs. Lovett from evil, not realizing she's as much a snake as the one he's warning her about. The sad ending of his tale is not only unexpected, it also was the most heart-breaking. Roben Mitchell as Beadle Bamford, the friend and foe of everyone, trying to survive, is great to watch. You see him slither his way throughout the story. The excellent ensemble, with 3 interns graduating soon from Codarts Musical Theatre in Rotterdam, wow. That's quite the introduction to the musical theatre field. Last, but not least, Frank Van Hengel as Adolfo Pirelli, the "Italian barber" or blatant charlatan, his Pirelli is dramatic yet controlled. An exciting combination to watch.

Sweeney Todd is translated by Koen Van Dijk, who, once again, has done a wonderful job solving the puzzle that is Sondheim's work. In Dutch, he makes the lyrics flow ever so effortlessly, quite the achievement, as Dutch in comparison to the English is such a different language, in every way. Tonality, vowels, and the English have a more lyrical way of expressing themselves.

The 10-piece orchestra, led by Jeroen Sleyfer, perform the melodious and complicated score of Sweeney Todd excellently and by doing so, honoring the late Sondheim. No musical is written to be NOT performed live, particularly a Sondheim piece.

To conclude, this version of Sweeney Todd is a masterclass in musical theatre, where all disciplines excel, on and off stage. A dark and bizarre piece, filled with humor and soaring by the magical melodies of Sondheim. Bloody well done.

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