BWW Reviews: An Uneven SWEENEY TODD Opens Virginia Opera Company's 40th Season

When Stephen Powell's Sweeney Todd lunges at the audience in vengeful anger declaring, "No ones in the chair, come on! Come on! Sweeney's waiting, I want you bleeders," it's hard to think of anything more thrilling. And yet, Powell's performance along with a glorious 28 piece orchestra only partially make-up for the awkward staging and mundane set design in the Virginia Opera Company's rather uneven production of Sweeney Todd: The Demon Barber of Fleet Street.

Sweeney Todd has consistently been recognized as Stephen Sondheim's masterpiece and it's easy to see why. From the opening notes of the organ to the piping industrial whistle, his score instantly puts the audience on edge and keeps us there for close to three hours. For instance, Sondheim's lyrics for Act II's "Johanna (Quartet)" where Sweeney is practicing his craft singing, "And if I never hear your voice, my turtledove, my dear, I still have reason to rejoice: The way ahead is clear, Johanna," highlight his amazing ability to insert poetic and beautiful lyrics into such a twisted story.

When the shrill whistle first calls us to, "Attend the tale of Sweeney Todd," we find that he has recently escaped from false imprisonment. Sweeney returns to London with the help of a young sailor named Anthony (Andre Chiang) and seeks to be reunited with his wife Lucy and daughter Johanna (Amanda Opuszynski). He's soon informed by Mrs. Lovett (Phyllis Pancella), that Lucy committed suicide after being tormented by Judge Turpin (Jake Gardner), the very man who sent him to prison. As for Johanna, Judge Turpin took her as his ward and intends to marry her. Sweeney then sets out to avenge Lucy's death by killing Judge Turpin.

Powell's Sweeney has a brooding, focused psychopathic quality about him. Murder is a means to a just end and he remains transfixed on making Judge Turpin suffer. When his plan goes astray with Act I's "Epiphany" we see Powell's commanding baritone unleashed in rage of fury and despair. It's a terrifying moment made even more thrilling by Maruti Evans gripping lighting design which projected Powell's oversized shadow against the curtain.

As Mrs. Lovett, Pancella's performance nailed the show's comedic moments and her mezzo-soprano voice had no issue mastering the chatty rap "The Worst Pies in London." However, her interpretation lacked Mrs. Lovett's maniacal obsession with Sweeney. Without that necessary obsession, we are left to question her devotion and willingness to take part in his gruesome scheme.

Chiang and Opuszynski made a lovely pairing as Anthony and Johanna. Their voices gave this production it's few tender moments. Chiang's sensual "Johanna" followed by Opuszynski luscious "Green Finch and Linnet Bird" was easily one of the highlights of this production. Both exuded the youthful optimism of their characters set against the dark stains of industrial London.

Gardner's interpretation made for a stately, secretly disturbed, Judge Turpin. His performance of "Mea Culpa" was the perfect mixture of both pious restraint and lustful torture. Carrying out the Judge's every wish was Scott Ramsay as the nefarious Beadle. Ramsay was excellent showcasing the Beadle's absolute loyalty to Judge Turpin and harsh commitment to exercising his wishes.

Tenor Javier Abreu gave a spirited performance as Pirelli, the barber to kings. As his lackey Tobias, David Blalock gave the role a wide-eyed naiveté performing a particularly sweet rendition of "Not While I'm Around."

Director Ron Daniels' staging could be described as bulky at best. The blocking in several scenes, most notably "God, That's Good," obscured the main action onstage. Emily Rebholz's costume design lacked a cohesive theme. The costumes featured a base of blacks, whites and reds in outfits that seemed mismatched with the show's Victorian era setting.

Riccardo Hernandez's metallic set which featured corrugated sheet metal against the back wall and proscenium was a bit more successful. With the exception of Johanna's balcony, the set was retained to the stage level. A rustic blast furnace was appropriately featured against the center-stage wall with stationary set pieces moving in from the wings. One set item that was missed was Sweeney's two-tiered mechanized chair. In this production the chair flipped back and a stagehand then helped pull the actor(s) offstage. The moment works; it was just slowly executed and lacked a dramatic effect.

Still, credit must be given to Daniels, Hernandez and Rebholz for their creativity. Too many opera companies in staging Sweeney Todd simply choose to recreate Hal Prince's legendary original Broadway production. While the originality of this production cannot be doubted, it just wasn't authentic in keeping with the story's 1846 setting.

Some may question Sweeney Todd as an appropriate selection for an opera company. Sondheim himself has denied the notion that the show is an opera instead choosing to label it a "dark operetta." In the show's program, Virginia Opera Company Board Chairman Alan Albert addresses this concern by saying, "Sweeney exudes the essence of opera." On that point there is no debate. Regardless, if this production of Sweeney Todd attracts new audiences to musical theater or opera, then what's not to celebrate?

Photo: Phyllis Pancella as Mrs. Lovett and Stephen Powell as Sweeney Todd in Virginia Opera's production of Sweeney Todd: The Demon Barber of Fleet Street

Credit: Lucid Frame Productions

The Virginia Opera Company's production of Sweeney Todd: The Demon Barber of Fleet Street was performed on October 11 and 12, 2014 at George Mason University's Center for the Performing Arts. For more information on Sweeney Todd and to learn more about the Virginia Opera Company's upcoming performances please click here.

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