Review: Theo Ubique's Chillingly Exciting SWEENEY TODD

Attend the tale.

That's really all you need to know and I should probably end the review right there for SWEENEY TODD: THE DEMON BARBER OF FLEET STREET, the last full Theo Ubique production in the No Exit Café space that has been their home for the past 13 years (they will close out the space in June with a cabaret retrospective revue before moving to their new digs on Howard in the fall).

With countless Broadway World Chicago and Jeff nominations, the company, under the watchful eye of artistic director Fred Anzevino (who also directs this production; Jeremy Remey is the music director), has proven time and time again that they are more than capable of raising the expectation of what is obtainable in an intimate, storefront theater. SWEENEY is no exception.

The production's Sweeney Todd, Philip Torre, has sung with the Lyric, New York City Opera and others. He has the technical skills to handle the challenging score and, fortunately, is able to temper his powerful voice for the smaller space. His diction and vocal work are perfect (as one might expect). He's Sweeney is a melancholy maniac. He's still hell-bent on slitting the throats of those who wronged him, but he also manages to elicit some sympathy while wielding his razors.

As his partner in crime and pie shop proprietress Mrs. Lovett, Jacquelyne Jones exhibits great comedic timing, particularly in "A Little Priest," in which she envisions the type of people she'll be grinding up into pies that she will sell. It might also be the intimacy of the small space, but the maternal affection she shows to her ward Toby (Frankie Leo Bennett) is very touching.

Bennett, it should be noted, also brings much energy and heart to his role and his tenor voice is well suited for the show's ballad "Not While I'm Around."

As the young lovers caught up in the murderous plot for revenger, Nathan Carroll (as sailor Anthony) and Cecilia Iole (as Sweeney's daughter Johanna) are vocally well-suited for the score, but lack passion and chemistry.

As the political lackey Beadle, Kevin Webb take a role that is usually portrayed as a bumbling henchman and instead portrays him as a master manipulator. His character comes off as a bigger threat to Sweeney's plans than does the Judge (John B. Leen), the man who initially framed and sentenced Sweeney (nee Benjamin Barker) to the Australian penal colony. It works.

Perhaps the biggest star of the show (aside from Sweeney) is the ensemble here. The Ensemble's vocal work (Jeremy Ramey is again credited with music direction and arrangements) on "The Ballad of Sweeney Todd" is particularly chilling. Standout performances include Megan Elk and Ryan Armstrong (who also play the Beggar Lady and Pirelli, respectively).

Scenic design by Ben Lipinski immerses you in Lovett's pie shop. The action, as per usual, takes place all around you. I've seen the production more than a dozen times and the space's intimacy makes the action much more chilling, particularly when the murderous barber points his razor at an audience member to ask them if they would like a shave.

There are some sacrifices to be made, given the space. Sweeney's barber chair, usually a signature set piece featuring a lever that drops his victims to the basement of the pie shop below, is merely a small cocktail chair and not really period. Stephen Sondheim and Hugh Wheeler's penny dreadful musical opera --at least in this reviewer's mind-has never been so eerily realized as here.

Theo Ubique's production of SWEENEY TODD: THE DEMON BARBER OF FLEET STREET runs through April 29 at the No Exit Café, 6970 N. Glenwood. Tickets, $39-$44. Optional dinner package also available for an additional $25/person. www.theo-u.org.

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