REVIEW: Musical Theatre West's SWEENEY TODD is Bloody Good (Ends 2/14)

LONG BEACH, CA-Right from the moment Stephen Sondheim's iconic score begins, which is followed by a doom-and-gloom recitation from a dirt-covered cast in the opening prologue, Musical Theatre West's incredible production of SWEENEY TODD: THE DEMON BARBER OF FLEET STREET transports you instantly to London, circa early 1846. This is no sunny fairy tale-life is bleak, poverty is rampant, corruption is the rule, and a devoted family man can progressively turn into a vengeful murderer and not even blink with the slightest of guilt. Thanks to top-notch production values (sometimes a lovely surprise with regional Theater Productions) and an impressive cast performing what is arguably Sondheim's most defining career-spanning masterpiece, this is one of Musical Theatre West's most spectacular musical offerings in the past few years. Performances continue through February 14.

Full of both foreboding despair and wisps of wicked, dark humor, SWEENEY TODD tells the legend of the demon barber of Fleet Street (played with incredible power by Norman Large), who, together with his landlady Mrs. Lovett (an amazing Debbie Prutsman), concocted the most murderous-but probably unusually delicious-business enterprise. Ever. He was once known as Benjamin Barker, a gentleman with a beautiful wife Lucy and an infant daughter Johanna. Judge Turpin (Richard Gould), a local dignitary who jealously lusts after Barker's wife, has Barker falsely imprisoned out to Australia, thereby leaving Lucy free for himself.

Now back in London, Barker has changed his name and appearance in order to exact revenge on the man who stripped his life away. He returns to the old apartment where he once lived, above a meat pie shop owned and operated by Mrs. Nellie Lovett. Once his landlady, Mrs. Lovett instantly recognizes that Sweeney is really Benjamin and explains to the heavy-hearted shell of a man that his wife Lucy had poisoned herself and that their now teenaged daughter Johanna (Sarah Bermudez) is living under Judge Turpin's supervision. Determined even more with getting his revenge on, Sweeney sets up a new barber shop above the pie restaurant. Mrs. Lovett is clearly still in love with the barber (she even kept his prized barber blades after all these years) and, later after an unplanned murder in Todd's barber shop, the two formulate a devilish plan that involves Todd killing London's rich and greedy, which in turn provide Mrs. Lovett the "raw meat" she needs to make more pies.

Under the direction of Calvin Remsberg (a production he helmed several time before, and even acted in opposite Angela Lansbury and George Hearn in the 1980 national tour) SWEENEY TODD is movingly intense, lavishly impassioned and curiously riveting. The show itself never seems static: the music and orchestrations are complimented by the large ensemble cast who move about and interact seamlessly with its cleverly designed sets, which are technical marvels. And, yes-SPOILER ALERT-blood does come gushing out and bodies do get "disposed" of in an ingenious way.

Sometimes, regional productions are hampered by costly set mechanics that you may expect from larger houses like OCPAC or the Ahmanson; here, cast members-dressed in period garb-literally move the huge set pieces in place, and the ingenious trick is not only clever, but hammers home the point that this morality play of sorts is from the point of view of the citizenry. They scowl and droop in the sidelines of the action as if they're eavesdropping on the tragic events of this fantastical story, thereby turning it into an urban legend of murderous and cannibalistic proportions. Working from the original book by Hugh Wheeler (itself based on Christopher Bond's 1973 stage play), Remsberg presents a sharp production that not only skillfully dramatizes Sondheim's brilliant music and lyrics, but also astutely highlights the remarkable talents of its two leads.

As Sweeney Todd, Large imposes his solid, broad, yet agile frame into the very soul of the serial-killing barber. His performance is both oddly mesmerizing and utterly compelling, as he transitions effortlessly from moments of intense pathos to his matter-of-fact, impersonal throat-slitting. He displays an astounding emotional power during his forceful musical monologues, yet shows a vulnerable side when daughter Johanna comes into the picture. It's quite a reversal from his last role with Musical Theatre West: as patriarch Alfonso Smith in the very subdued Meet Me In St. Louis. And in a scene-stealing, marvelously hilarious performance, Prutsman is an incredible Mrs. Lovett-joyfully mischievous, deliciously naughty, and downright shameless. She morphs from touching caregiver to vicious co-conspirator with just a flick of a spotlight. Most notably, her pie shop scenes are so lived-in, even accidental prop hazards become another chance to improvise. Her acting chemistry with Large is keenly palpable, more significantly during "A Little Priest" and "By The Sea."

The rest of the cast features brilliantly acted/sung turns by Dan Callaway (Anthony), Michelle Duffy (Beggar Woman), and Sarah Bermudez (Johanna). Jim Holdridge should also be noted for a remarkable job as Tobias. Offered as comic relief for most of the play, Holdridge is equally astute in being vulnerable during "Not While I'm Around" and in the sad, tragic turn of events that end the musical. And in what seems to be the norm for many of Musical Theatre West's productions, the ensemble work is extraordinary. When the entire cast sings, they are beautifully melodic and harmonious. This particular company collectively sing with confidence and pride, and service Sondheim's score exceptionally well.

Overall, MTW's SWEENEY TODD is definitely one of the regional company's best productions to date. SWEENEY TODD is a great mixture of marvelous theatrics, awe-inspiring sets, an ingenious score, and incredible lead performances comparable to large national tours. To coin an often used phrase, the show is bloody good. Actually, bloody great.

Grade: A

Photos by Alysa Brennan: Top - Norman Large & Richard Gould. Middle - Debbie Prutsman & Norman Large.

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SWEENEY TODD Performance Dates/Times continue Thursday, February 4, 8:00 PM; Friday, February 5, 8:00 PM; Saturday, February 6, 2:00 PM; Saturday, February 6, 8:00 PM; Sunday, February 7, 2:00 PM; Sunday, February 7, 7:00 PM; Thursday, February 11, 8:00 PM; Friday, February 12, 8:00 PM; Saturday, February 13, 2:00 PM;Saturday, February 13, 8:00 PM; Sunday, February 14, 2:00 PM.

Now in its 57th season, Musical Theatre West is one of Southern California's largest and most-respected theater companies. Under the leadership of Executive Director/Producer Paul Garman, the company has garnered numerous awards and accolades for its work presenting the entire spectrum of musical comedy (including 21 Ovation Award nominations over the past three seasons and the Margaret Harford Award for Sustained Excellence in the Theatre). Following Sweeney Todd in the 2009-2010 Season is The Marvelous Wonderettes and 1776.

Musical Theatre West performances are at the spectacular 1070-seat Richard and Karen Carpenter Performing Arts Center on the campus of California State University, Long Beach. Tickets for Sweeney Todd range from $30-$80 and can be purchased through the MTW Box Office at (562) 856-1999 x4 or online at www.musical.org.

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