There are two essential components that must be satisfactorily rendered when a theater company tackles Stephen Sondheim’s Sweeney Todd. First, there needs to be a cast that can successfully undertake the demanding score. Second, the sequence when Sweeney Todd provides an all-too-close shave to his customers must be flawlessly executed. The Legacy Theatre’s production of this classic musical succeeds on both counts. It is not a flawless staging of the show but, especially for individuals unfamiliar with one of the composer’s most well-known musicals, Legacy’s presentation is well-worth the price of a ticket.
Karl Gasteyer as Sweeney Todd, Stephanie Stiefel Williams as Mrs. Lovett. Photo by Sam Bibbins.
Book writer Hugh Wheeler has adeptly adapted playwright Christopher Bond’s original, expanded Victorian penny dreadful tale. The musical tells the story of a vengeful barber, Sweeney Todd, who returns to 19th-century Victorian London after being unjustly imprisoned in far-off Australia. Upon his arrival, and after thanking the young sailor, Tobias, for saving his life, Todd seeks revenge against the man who framed him, stole his wife, and ruined his life, Judge Turpin. Partnering with Mrs. Lovett, a down-and-out pie shop owner, Todd uses his newly reopened barber shop as a front for his murderous rampage. Complicating his plotting is his discovery of his grown daughter, Johanna, and her involvement with other central characters.
The music and lyrics by Stephen Sondheim are some of his best. There is an emotional heft to many of the songs, which produce an ample mix of melodramatic numbers, comedic gems, and gorgeously sung ballads. For audience members unfamiliar with the oeuvre of the composer, the songs are accessible and tuneful.
Stephanie Stiefel Williams as Mrs. Lovett and members of the cast of Sweeney Todd. Photo by Sam Bibbins.
Director Colin Sheehan has skillfully integrated all the varied components of the production into a satisfying whole. He makes good use of Jamie Burnett’s atmospheric, multi-level set design, which opens up the show, but still retains a slight claustrophobic feel. Most of the design elements work well. Jimmy Johansmeyer’s costume designs (with a help from the closets of Pantochino Productions) are well-suited to the era. Burnett’s lighting design, especially the utilization of a red spotlight during the murderous barber shop scenes, are well-placed. While Music Director’s three-piece pit band generates wondrous sounds, the musicians can sometimes overpower the performers. Likewise, Adam Jackson’s sound design occasionally under mic-ed.
Braydon Esler as Tobias and Karl Gasteyer as Sweeney Todd. Photo by Sam Bibbins.
The cast is uniformly fine, handling their roles, for the most part, with talent and aplomb. Karl Gasteyer brings a rich singing voice to the tragic figure of Sweeney Todd. At times, I would have like to see him more manic, especially as the heart-breaking ending unfolds. For the role of Mrs. Lovett, Stephanie Stiefel Williams presents a less over-the-top characterization of the slightly daffy, yet crafty baker of succulent meat pies. Eric Santagata brings a devilish, rascally air to Judge Turpin. Braydon Esler’s Tobias and Ava Broneer’s Johanna are somewhat nondescript in their performances, but each possesses a splendid singing voice, especially Ms. Broneer. Other notable performers are Thomas Beebe as Judge Turpin’s lumbering henchman, Beadle Bamford; Charles Romano as the young, childlike Anthony Hope; and Sarah Anne Hughes as the mysterious, slightly crazed Beggar Woman.
Sweeney Todd, playing at the Legacy Theatre in Branford, CT through August 31. Click here for dates, times, and ticket information.
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