BWW Reviews: SWEENEY TODD: THE DEMON BARBER OF FLEET STREET continues to chill audiences in New Theatre's minimalist interpretation of the musical thriller.

Thursday 27th November 2014, 7:30pm, New Theatre, Newtown NSW

Giles Gartrell-Mills' (Director) interpretation of Stephen Sondheim (music and lyrics) and Hugh Wheeler's (libretto) famous musical SWEENEY TODD: THE DEMON BARBER OF FLEET STREET allows the dark and twisted characters shine in this minimalist production.

The muddied black walls of the former warehouse space of New Theatre is appropriate for this sinister tale set in darker side of Victorian London with minimal set of heavy rough timber stairs and platforms, rope and hessian. The simple set allows for the large cast of 17 to transform the space from the docks to Mrs Lovett's pie shop, Todd's barber shop and various other locations without slowing the pace of the performance.

Showing a good understanding of the internal struggles Sweeney Todd faces, Justin Cotta creates a deliciously demonic vengeful Todd with a powerful intensity in his eyes and voice whilst also being able to display the sensitivity that lingers from his past as the mild Benjamin Barker. Lucy Millar gives a lightness and dark comic element to her interpretation of the calculating Mrs Lovett with physical comedy, a broad lower class accent and strong vocals.

In an unusual twist, Aimee Timmins plays Adolfo Pirelli's (Michael Jones) simple minded assistant Tobias Ragg. Whilst the role is usually a male part, Timmins creates her Tobias as a younger boy with the female voice suiting the young lyric tenor range that the role was originally written. Whilst Tobias is a small role, Timmin's physicality with the role is dedicated even when side stage, slumped over with Mrs Lovett's gin.

This production highlights Judge Turpin's perverted nature more than other interpretations with Byron Watson's bare chested self-flagellation and pursuit of his ward Johanna (Jaimie Leigh Johnson) having a more obvious carnal intent. Johnson portrays Johanna with a naivety and potentially stunted social development due to years locked up in Turpin's care. Josh Anderson's Anthony Hope is presented with the hope of his name and his declaration of love at Johanna's window is haunting in its clarity. Simon Ward's Beadle Bamford and Michael Jones' Adolfo Pirelli both have the requisite oiliness of men who want to be seen as something better than they really are. Courtney Glass's beggar woman gets some good physical comedy moments and her clear vocals allude to a better life in the past. The ensemble's vocals are strong and fill out the minor roles whilst being able to blend back into the crowd.

The pared back 3 piece musical ensemble handles Sondheim's score well with the organ and strings giving a wonderfully haunting tone. Trent Kidd's choreography helps reinforce comic moments and ensures that the pace and mood is maintained. Brodie Simpson's costuming are appropriately grimy rags, corsets, neck scarfs and coats of the down at heel ladies of the night and labourers for the ensemble and finer garments for the wealthy Turpin, Bamford and Johanna. Todd and Mrs Lovett's attire evolves as they find "success".

This telling of SWEENEY TODD: THE DEMON BARBER OF FLEET STREET allows the dark side of humanity with its greed, lust, desire, anger, resentment to be displayed and the personal demons that many characters carry from their past to be unearthed by keeping Sondheim's amazing lyrics as the focus and using symbolism instead of over engineered props common in other productions.

New Theatre's SWEENEY TODD: THE DEMON BARBER OF FLEET STREET is appealing to Sondheim and musical theatre fans but also those not as familiar with the work. This production is also a good opportunity to see a professional level performance at a fraction of the price.

SWEENEY TODD: THE DEMON BARBER OF FLEET STREET

New Theatre, 542 King Street, Newtown NSW

18 November 2014- 20 December 2014

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