Depending on who you ask about the late Stephen Sondheim’s body of work, I’d venture that most would say his masterpiece is the melodramatic revenge quasi-gothic horror opera Sweeney Todd. Originally premiering on Broadway in 1979, the musical has stood the test of time. There have been several productions and adaptations of the musical since its premiere, and it’s easily become a pillar in musical theatre canon. With its opera-like score and its darkly comedic horror/tragedy plot; there was never anything like Sweeney Todd, and there hasn’t been anything like it since.
The plot focuses on Sweeney Todd, formerly Benjamin Barker, returning to London after years of wrongful imprisonment by a corrupt Judge Turpin. In the years since, the Judge has become guardian to his daughter Johanna, and Sweeney is back with appetite for revenge. In his past life he was a barber, and when he arrives at his old shop, he meets Mrs. Lovett who now owns a meat pie shop below his old shop. Blinded by rage and revenge, Todd embarks on a killing spree, targeting anyone unlucky enough to sit in his barber chair. Mrs. Lovett, as his accomplice, disposes of the bodies in a… gourmet fashion.
Blake Graham led the cast as Sweeney Todd the night I saw it (splitting the role with Landon Sholar depending on the day), and he absolutely blew me away. His lovely and brooding baritone filled the space and commanded the audience’s attention. Acting wise, he did a great job showing a gradual dissent into madness. Opposite him was Jillian Prefach-Baker as Mrs. Lovett (splitting the role with Elizabeth Loos). Baker’s Lovett was very well done, but in some places felt a little undercooked. She sang the role beautifully, but her characterization could’ve gone a bit further, especially in the more comedic bits the role is known to possess. Her second act moments with Mitchell Lewis’ Toby are genuine and quite touching.
A standout performance in the supporting cast was Harli Cooper’s Johanna. Her light and layered soprano vocals were a joy to listen to, and she effortlessly tapped into the character’s wistful and sometimes manic energy. Patrick Cogan’s Judge Turpin was appropriately despicable and sleezy, and Sarah King Bliss’ Begger Woman was very effective in providing a foreboding presence to the show, with her chilling vocals and frantic presence.
The ensemble is quite impressive and is put to good use in this production. They sounded phenomenal and executed Heather Paige Folsom’s choreography flawlessly. On the topic of choreography, this production at times did feel somewhat over-choreographed, a little less could’ve helped some of the material breathe a little bit more. Lee Buckholz’s direction is quite good and effective, using every inch of Derby Dinner’s “in the round space” to its full advantage. Many scenes would happen among the audience which added some excitement, and the special effects (specifically in the instance of murders) were chilling and inventive.
In the end Derby Dinner Playhouse’s production of Sweeney Todd is quite good. It doesn’t do anything new or particularly exciting with the material, but it does present it in a classic fashion that is faithful to the story and great for first time viewers of the show. Technically it’s very well done, and the performances make a lot of the magic along with some inventive direction. This Sweeney definitely does the show justice, but for seasoned theater goers who know the show well, it won’t make you see it in a new or enlightened way or offer much in the way of surprises. However, Sweeney on its own presented plainly is always a treat, and for that reason, this production is a splendid night out.
SWEENEY TODD
Now - March 31st
Derby Dinner Playhouse
525 Marriott Dr, Clarksville, IN 47129
Photo by Landon Sholar
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