Review: Art Factory's SWEENEY TODD is Well Sung But Rough Around the Edges

Nostalgia is a powerful thing, as this reviewer's experience of Art Factory's production of Sweeney Todd: The Demon Barber of Fleet Street clearly shows. For many years, Sweeney Todd was my favorite musical of all time, and while my preferences have shifted somewhat over the years, Stephen Sondheim and Hugo Wheeler's gothic revenge tragedy still holds a very special place in my heart. This sentimental value proved to be a benefit for Art Factory's intimate production, which hits some satisfying notes amid some noticeable stumbles. While I delighted in hearing the songs that I have loved since I was a faux-edgy 16 year old, I daresay that a lesser Sweeney Todd fanatic may have enjoyed this production a smidge less.

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This production, helmed by Art Factory's executive director Luke Hamilton, is competent. At times, it is even quite strong-there are certainly strengths to be found in its performances (the vocal quality is superb for the most part) and the intimacy of the space lends itself well to the kind of threatening atmosphere the show aims to evoke. However, there are little bumps and stumbles throughout this production that accumulate to muffle the potential impact.

Aesthetically, this production aligns itself more with the gothic interpretation of John Doyle's 2005 Broadway revival, in which the stage was designed to resemble a mental hospital. For this iteration, production designer Colton Berry (who also plays the role of Anthony) has painted the entire stage white, save for a smear of blood on the back wall. The goal may have been to evoke a padded cell in some modern day Bedlam, though I imagined one of the plastic-laden kill rooms from Dexter. I am not indignant that the design did not mirror the original's devotion to Victorian-era industrialism; it has long been a staple of contemporary Sweeney Todd productions to prioritize atmosphere over realism in the show's design choices, and this production does that fairly well.

The performances also mostly hit the mark, especially in the vocal department. Jared Alan Barnes is satisfactory in the titular role, but only really soars in his rendition of "Epiphany," in which he finally begins to touch the searing rage that drives Sweeney's actions. His voice has all the fullness and weight that one expects from the murderous barber, though he occasionally loses confidence in his lower register (I could barely hear him during the "Johanna" quartet). I do have to point out though that, whether intentionally or not, he is doing such a spot-on impression of Len Cariou (the original Broadway Sweeney) that I found myself questioning if I had unknowingly attended some kind of lip syncing performance of the Original Broadway Cast Recording.

Barnes benefits from a phenomenal scene partner in Heather Hall, whose performance as Mrs. Lovett is arguably the best thing about this production. Undaunted by the litany of legendary actresses who have played Nellie Lovett, Hall takes command of the character and owns every beat of her performance. She leans more into the comedic elements of the character, but takes care that her brash exterior does not overshadow Mrs. Lovett's more sinister interior. At several points, you can see the gears turning behind her clownish facade, hinting at her darker machinations without giving too much away. It's all finely calibrated and woven together to produce the show's most fully realized performance. If I have one complaint with her performance, it is that we occasionally lose some of her dialogue due to her over-the-top cockney accent.

Colton Berry and Ivanna Martinez do a fine job of filling the roles of young lovers Anthony and Johanna, though Berry seems to have to work a bit harder to hit the higher notes required of the character. He handles the challenge valiantly, but one can tell that he is perhaps not accustomed to Anthony's soaring tenor (his assured, full-chested rumble on "The Ballad of Sweeney Todd," on the other hand, sent shivers down my spine).

As the despicable Judge Turpin, Sebastian Pinzon brings the sleaze but lacks some of the character's menace. His threats to Anthony and his inappropriateness with Johanna never seem to hold much gravity or weight. He sings well though, and there were audible gasps in the audience when he reached down his pants during his rendition of "Johanna."

As the beleaguered Toby, David Martinez does a good job grounding his character's innocence and love for Mrs. Lovett in his desperate desire to be valued, and he gets his fair share of pathos out of it. As Toby's former master, Adolpho Pirelli, Matthew Steven Lawrence hams it up with joy and aplomb, popping out some jaw-dropping high notes in the process.

As for the Beggar Woman and Beadle Bamford, Nicole Ercan sounds good but is far too hesitant with the character's lewd propositions, which just end up feeling awkward as a result. Luke Hamilton, who plays the Beadle, has a fun time with the mustache-twirling half of the play's villainous duo, but his vocals are a bit plodding on "Ladies and Their Sensitivities."

The ensemble is also quite good, especially during the opening number and its reprises. When the entire group sings of the terrifying Sweeney Todd, they produce enough gravitas to make you listen. Since the show book ends with a reprise of "The Ballad of Sweeney Todd," this at least allows for the production to enter and exit on a high.

One problem that I have with the opening, however, is a problem that I have with multiple other numbers in the show: the staging is somewhat dull. Characters will either plant themselves on the spot when they begin singing, or they will move in ways that are unmotivated and clearly designed to produce variety. There are some engaging choices, such as having Barnes break the imaginary barriers of the space and jump from the platform during "Epiphany." However, a few songs stall because there's not enough for the actors to do.

Part of the problem is that the stage is framed by two large platforms, one representing Sweeney's barber shop, and the other representing Johanna's room in Judge Turpin's house. This leaves only those two spaces and the small floor as potential playing spaces, meaning the actors are restricted in how they can move. After Sweeney commits his first murder, three ensemble members come out to perform another reprise of the opening, and we have to wait for them to walk up to the platform, get themselves into place, and begin circling him. It does not produce the effect I think was desired due to the limited amount of space on the platform, and having to wait for them to get into place severely slows the pacing of a rather crucial story beat.

In fact, a lot of this production's problems stem from the limitations of the space. For example, Sweeney Todd is a show that practically demands full orchestral accompaniment, which Art Factory's relatively small performance space does not permit. Instead, the music is all pre-recorded. Now, I don't consider myself a snob when it comes to canned music; it is often a necessary evil of smaller-scale productions like this, and it is not impossible to pull off. However, the music in this show needs some significant balancing, as the speakers often blare so loudly they drown out the actors onstage, who are already using mics. Also, without a conductor to follow the actors, several musical cues got missed, forcing the performers to try and catch up (it was particularly noticeable in "A Little Priest," "Kiss Me," and "Pirelli's Miracle Elixir"). While these moments do not take too much away from the show, they did make me nervous that the actors wouldn't be able to keep up when the music started to get...let's say Sondheim-esque.

A perplexing choice was also made to pump fog through the theatre throughout most of the show, which makes for a very atmospheric opening, but produces diminishing returns as the play goes on (meaning I was tired of it a third of the way through Act One). Plus, the machine is very loud, and the sound of it hissing backstage is both very audible and very distracting.

As I said, I adore Sweeney Todd, so I was forgiving of some of these flaws, though there were moments when the technical issues were enough to take me out. At the end of the night, I did leave satisfied, though a portion of that satisfaction was more due to my love for the play than the quality of the production. Still, it is a fun night at the theatre and there are enough positives that less fanatical audiences should be able to find something to enjoy. Provided that some of the technical problems can be cleaned up, it may very well become more of the blood-soaked thrill ride that the show is designed to be; especially if the section of the crowd that cheered at the Judge's inevitable demise is any indication.

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Sweeney Todd: The Demon Barber of Fleet Street runs from April 22 to May 8 at Art Factory. Tickets start at $25 and can be purchased at https://www.eventbrite.com/e/sweeney-todd-tickets-161352604985 or by contacting the box office at (832) 210-5200.

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