Review: SWEENEY TODD Makes the Cut at Academy Playhouse

For those of you familiar with the tragic tale of Sweeney Todd, Barber of Fleet Street, there is so much that can be said for the story's title character: his entire existence at the point he is introduced to the audience is constituted by such an ardent desire for revenge - the need to right the wrong that was done to him so long ago, that it is easy to see him as a "bad" character because of his seemingly uncompromised sense of morality. Persuaded by his ever-persuasive female counterpart, Sweeney becomes blinded by his rage but ironically never loses sight of the force that propels him to commit such heinous crimes: love. In the theoretical pits of despair these characters are forced to dig their way out of in one form or another, Sweeney Todd would not be the beautiful musical it is, with its haunting melodies (or Sondheim's intent on tricking audiences into thinking such melodies exist) and twisted plot, without all that is sung leading towards the inevitable fact that what is done is done out of love.

And it is that love which makes people see Sweeney as a man who covets and cherishes his darkness so, so well, or perhaps the man whose shining light has been extinguished for reasons even he cannot truly understand. As quite the undertaking, the Academy Playhouse thus presents Sweeney Todd: The Demon Barber of Fleet Street to start off its fall season, bringing to a Cape Cod audience one of the most hauntingly profound musicals ever written.

With score and lyrics by the [in]famous Stephen Sondheim and a book by Hugh Wheeler, Director Peter Earle brings Sweeney Todd to the town of Orleans, enshrouding the Academy Playhouse's intimate black-box theater in darkness as black as the hearts of many of the characters that make this show of such a menacing nature. Continuing in the tradition of producing quality theater for forty years and following a successful summer season, Earle's creative vision brings yet another production to unforgettable heights, proving to both loyal theater-goers and those who happened to be on Cape for the holiday weekend that the Academy does not play around when it comes to extracting the absolute rawness of a show and putting in on stage in a way that keep audiences coming back for more. With Earle's vision does the incredibly challenging work of Sweeney Todd live again and hereby takes the stage, frightening audiences not solely because of its acknowledged "dark" qualities, but also because the show itself brings about such a mix of emotions in those who are fortunate enough to see this production. There are times when murders occur and the audience has little choice but to hate the duo's sweet nonchalance, followed by moments when feelings of pity - pity for a man whose life was taken from him to produce the shell of a person who has little more to live for at present - no doubt sway the audience's opinion of this character who is not the clear-cut "villain," a discrepancy which makes this fascinating a musical to behold.

Of course characters with such depth to their souls, from Sweeney Todd himself to the young sailor Anthony, who takes to his sudden love interest with similar zeal as that which possesses our title character to kill, do not magically come about without the hard work of a talented group of actors. So saying, it is without doubt that Earle has gathered quite a unique cast to make this production more than simply something performance-worthy: he has managed to bring out the innate beauty, both visually and metaphorically, that Sondheim's musical has so much of. Aside from the most prevalent themes of death, revenge and love which saturate this plot, each character fights desperately to find some semblance of happiness in their rather bleak world.

Sweeney Tood: The Demon Barber of Fleet Street tells the story of Benjamin Barker, a barber once unfairly exiled because of another man's desire for his wife Lucy; he returns years later to discover that the life he knew is no more. His wife has apparently poisoned herself, and his daughter Johanna has become the captive ward of the man who took his life away so many years ago: the tyrannical Judge Turpin. With his life thus in shambles, Barker becomes Sweeney Todd, who with a vengeance vows to make the Judge pay for the grief he has caused him. With the help of Mrs. Lovett, owner of a failing pie-shop on Fleet Street and upon the insistence of Anthony, the young sailor who rescued him, the two devise a deliciously maniacal plan to use the fair citizens of London to their advantage, both resurrecting Barker's talent and bringing forth Sweeney's rage to gradually get at the Judge in a way that is sure to both delight and intrigue audiences.

The Academy's production of Sweeney Todd is unique in many ways, both visually and musically, and one such aspect of this show that is different from other productions is Earle's use of J.M.W. Turner's paintings to not only provide the audience with a sense of where Sweeney's tale takes place, but also to set a very specific tone and mood that, with the other striking visual elements on stage, allow this production its own theatrical "feel," thereby allowing the audience to delve into the experience of this production even before any words are sung. The use of these projections provide the equivalent of a production having its own fingerprint, in a sense, and the way in which Turner's paintings add to Earle's vision of Sweeney is truly spectacular. There is this contemplative and lonely feel to these paintings, perfectly matching the dark nature of both the show and its characters yet shedding just enough light to give a sort of redemptive quality to that darkness. In addition to these projections, it takes careful planning and precise cues to have this blackbox light up with the splattering of blood each time another victim is taken away from this world. There is already blood splattered on theater's floor, but when Sweeney claims his victims, he really does so in style and kudos must be given to the creative team for making this all visually work so well.

Now, there is much to say about the brilliant acting that merits the standing ovation received on the show's opening night this past Friday. Alexander Perry plays the murderous Sweeney Todd, and not only does he bring out the necessary "black heart" this character is acknowledged to have, but he makes those few comical moments in between all the bloodshed actually funny, providing comic relief in those rather intense moments where it seems a smile cannot and will not be had. Perry is adept at making both his character and his razor "gleam," and he was very well cast because of how great a performer he is. Sara Sneed as Mrs. Lovett is unbelievable, and for sheer memorization alone does she deserve to be commended. Aside from that, she has a beautifully strong and resounding voice which she uses to cleverly coax Sweeney to aid her strike up a "respectable" business. She does very well to show love towards Sweeney and play the part of a despaired widow who lives alone, yet all the while never allows the audience to forget that she is still the wicked accomplice to some pretty heinous crimes. Caroline Clancy plays the young Johanna, singing her songs of longing with a beautiful soprano that fits the her ingénue character well; Jeremy Racine as Anthony is typically to be found alongside her, playing the lovesick young sailor with his pure, charming tenor voice to a tee. He remains exuberant at the prospect of having Johanna to himself and never removes his eye from the prize at hand. Jefferson C. Post plays the Beadle, and does so with such an air of confidence and superiority that he really does play the fairly cocky, threatening authoritative figure well.

Yoe Perry gives a haunting performance as the Beggar Woman, making her entrances and exists, though they are far and in between, just so memorable that people not familiar with the show may be wondering just who this person is. Peter Milsky plays Judge Turpin with that relentless quality in his demeanor that is ideal for such a character. He provides the perfect mix of trying to be an "ardent lover" while also keeping that cold exterior to all those who displease or defy him. Geof Newton as Pirelli is just comical, and he is just so entertaining to watch, even if he is only on stage for so short a time; Cole Perry as Tobias does a wonderful job keeping his audiences' attention through many group numbers, but the real treat to his character comes at the very end; he deserves praise just for that scene alone.

Lastly, the ensemble. This is a difficult musical to perform, and no one knows this better than what Earle considers the "Greek chorus" of Sondheim's work; to make sense of these lyrically and musically baffling songs is a talent, and with an added bit of staging and thereby considered multitasking in this case, the ensemble really does a miraculous job keeping the audience informed of what is happening, helping to tell the story of Sweeney in a very professional and admirable fashion.

With the really too-talented Chris Morris on piano, the wonderful Dick Stocks on bass and the brilliant Katherine Petitt-Quigley as Stage Manager, this show really has everything you're looking for.

So, if you are looking for an entertaining musical to see this fall on Cape Cod, please put Sweeney Todd: The Demon Barber of Fleet Street on the top of your list. Sweeney Todd at the Academy Playhouse (located at 120 Main Street in the town of Orleans), began performances on October 9th and will continue thru November 15th. Performances are Thursday thru Saturday at 8 PM, with Sunday matinees at 2 PM. Tickets are $26 and may be purchased via www.apacape.org, by visiting the box office or by calling (508). 255.1963 On-site parking and snacks are available.

Enjoy the show!

Photo Credit: Michael and Suz Karchmer

*The writer has some personal involvement with the show.

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