Review: SWEENEY TODD at Georgetown Palace

In the heart of Georgetown, Stephen Sondheim's Sweeney Todd: The Demon Barber of Fleet Street unspools its twisted tale of revenge, madness, and moral ambiguity. The musical follows the story of Benjamin Barker, who returns to 19th-century London under the alias Sweeney Todd after being wrongfully imprisoned by the corrupt Judge Turpin. Fueled by a desire for revenge, Todd opens a barber shop above Mrs. Lovett’s failing pie shop. Todd begins killing his customers with the help of Lovett who bakes the bodies into meat pies to boost her business. As Todd’s thirst for vengeance grows, particularly against Judge Turpin, the plot intertwines with the love story of Anthony Hope, a sailor, and Johanna, Todd’s estranged daughter and now Judge Turpin’s ward. The musical culminates in a dark, tragic finale where secrets are revealed, and revenge comes at a devastating cost.

One of the most striking aspects of Sweeney Todd is its thematic depth. The musical’s exploration of vengeance, obsession, and the consequence of unchecked desire mirrors the moral decay of Victorian society. Todd’s quest for revenge against Judge Turpin, who wronged him years ago, becomes a symbolic exploration of how personal vendettas and societal injustice can consume individuals and entire communities. The show delves into the corruptibility of power and the moral compromises people make when driven by desperation. Mrs. Lovett, with her morally bankrupt scheme to turn human flesh into pies, reflects how easily survival can warp into greed. 

Having seen several of Sondheim’s works, I’ve noticed consistent themes and a cohesive approach to character and music. In Sweeney Todd, sweeping melodies are often interrupted by discordant notes, mirroring Todd’s unraveling psyche. The eerie refrains of “The Ballad of Sweeney Todd” act like a Greek chorus, reminding the audience that this is not just a tale of revenge but a reflection of society’s collective guilt and moral decay.

This thematic resonance is also found in Into the Woods, where Sondheim’s score shifts between lightness and darkness, signaling the transition from fairytale whimsy to grim reality. In both musicals, female characters act as catalysts, with their desires leading to morally questionable decisions. Mrs. Lovett’s sinister schemes in Sweeney Todd parallel the Baker’s Wife in Into the Woods, whose longing for "more" sparks tragic consequences.

The ensemble plays a crucial role across Sondheim's works, enhancing the atmosphere. In Sweeney Todd, their harmonies create a sense of dread, much like in Assassins, while in Into the Woods, they guide the audience through the fallout of each character’s choices. Sondheim’s genius lies in how his music not only drives the plot but also deepens the psychological and thematic complexity of his characters, leaving a lasting impact.

Georgetown Palace’s production of Sweeney Todd honors the dark, unsettling themes of revenge, murder, incest, mental health, and cannibalism that are central to Sondheim’s macabre masterpiece. Under the skillful direction of Kristen Rogers, the show delivers a gripping yet harrowing portrayal, balancing moments of horror with dark humor. The set, designed by Carol Stavish, along with purposeful, dim lighting designed by Faith Castaneda, successfully transports the audience to a grim, atmospheric vision of Victorian London, perfectly complementing the chilling tone of the story.

Damon Brown’s performance as Sweeney Todd is a force to be reckoned with. His voice fills the theater, especially during “My Friends,” where he serenades his razors with chilling tenderness. He masterfully captures Sweeney’s transformation from a wronged man into a vengeance-driven monster, with “Epiphany” standing out as an emotional high point. His Sweeney is equal parts tragic and terrifying, navigating the delicate balance between fury and anguish.

Sarah Jordan’s Mrs. Lovett is delightfully twisted, bringing humor and a strange charm to the role, particularly in “A Little Priest.” In this number, her gleeful scheming about baking people into pies offers darkly comic relief amid the grim storyline, perfectly capturing the character’s macabre wit. The chemistry between Brown and Jordan adds layers to the narrative, creating moments of wicked humor that play off the underlying horror, making their partnership both chilling and strangely entertaining.

Jacob Rosenbaum delivers a touching portrayal of Anthony Hope, bringing innocence and sincerity to his role. His rendition of “Johanna” is heartfelt, beautifully expressing the naivety of a young man in a world teeming with corruption. His performance grounds the show, making the stakes of his rescue mission feel real and urgent.

Other memorable performances include Teddi Iley as Johanna whose vocal power and charming on-stage persona are equally impressive, Gannon Styles as the power-kissing Beadle, Hannah Ferguson as the Beggar Woman, and Che Greeno as the street scam artist – yet innocent and naïve - Tobias Ragg.

The ensemble, while having more limited roles, elevates the production by enhancing the eerie atmosphere. Their harmonies in “The Ballad of Sweeney Todd” create a haunting backdrop, amplifying the sense of dread that permeates the show, while their spectral movements around the stage contribute to the gothic, nightmarish quality of the production.

While this production succeeds in capturing the essence of Sweeney Todd, there are a few minor challenges. The score, notoriously difficult, exposed a noticeable gap between actors with operatic training and those without. On a technical level, the wigs could have been more polished, and the stage felt overcrowded at times, particularly during ensemble scenes where the action lost clarity. Additionally, the music occasionally overpowered the vocal performances, especially during the scenes up at the barber shop.

Despite these minor issues, Georgetown Palace’s Sweeney Todd is a gripping and visually striking production. The show brilliantly delivers the twisted humor and dark operatic tone of one of Sondheim’s most iconic works, proving that even in tales of grisly revenge, it is human frailty that lies at the heart of the horror.

Duration: 2 hours and 15 min plus intermission.

Sweeney Todd: The Demon Barber of Fleet Street

Music and Lyrics by Stephen Sondheim

Book by Hugh Wheeler

from an adaptation by Christopher Bond

Direction by Kristen Rogers

Music Direction by Neal Gibson

Georgetown Palace: Springer Stage

Ocotber 4th through November 3rd, 2024

Fridays and Saturdays at 7:30 PM

Sundays at 2:00 PM

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