My guest this week is author Deborah Phillips whose new book is titled: AND THIS IS MY FRIEND SANDY — SANDY WILSON’S THE BOY FRIEND, LONDON THEATRE AND GAY CULTURE. Sandy Wilson's The Boyfriend — for which he wrote the book, music, & lyrics — is one of the most successful British musicals of all time.
Nearly 50 years after its inception, Sweeney Todd still feels on the cutting edge of musical theatre. With music and lyrics by Sondheim and a book by Hugh Wheeler, the production currently playing at Conifer's StageDoor Theatre is a darkly compelling tale of revenge, love, and madness. Directed by Tanner Kelly (who also music directed and chreographed), the show captures the essence of this macabre story with haunting precision, drawing the audience deep into Todd's tragic London Town.
Scenic design by Dean Arniotes and Biz Schaugaard cleverly utilizes the theatre’s small size, transforming it into a multilayered environment, drawing the audience into the grim world of Fleet Street. The staging evolves the set into a slice of Victorian London, utilizing minimal set decor to its full advantage. Most notably, Sweeney's barber chair is a cleverly constructed contraption, necessary for any production of the musical to feel fully staged.
Lighting by Jon Weeks played a crucial role in setting the tone. Sharp contrasts between light and dark highlight the moral complexities of the characters. Sporadic red laser dots scattered across the stage evoke a sense of chaos and impending doom, while strategic lighting shifts direct the audience’s attention, ensuring no sinister glance or gesture went unnoticed.
Cooper Kaminsky as Sweeney Todd is a force of nature. Equally intense and multifaceted, they capture the brooding vengeance of the character's underlying sorrow. Kaminsky’s rendition of “No Place Like London” immediately established their powerful presence and set the tone for the character’s dark journey. In “Epiphany,” they reached a fever pitch of madness and desperation, filling their voice with a terrifying resolve. Kaminsky’s interpretation of Todd’s interactions with Judge Turpin, particularly in “Pretty Women,” was masterful, blending seething hatred with a chilling calm. “My Friends" was hauntingly beautiful, showcasing Kaminsky's ability to humanize Todd’s twisted psyche.
Jessica Sotwick’s Mrs. Lovett is nothing short of a revelation, settling perfectly into her fresh brand of humor. Sotwick's sharp wit and vibrant energy brought a much-needed levity to the dark tale. Her comedic timing turns “The Worst Pies in London” into a masterclass of physical comedy, filled with hilarious moments that contrasted starkly with the show’s grim themes. Her chemistry with Kaminsky is electric, especially in their duet “A Little Priest,” which balanced dark humor with a chilling undercurrent. In “By the Sea,” Sotwick’s performance reaches new heights as she turns the song into a whimsical puppet show, using props and exaggerated gestures to bring Mrs. Lovett’s fanciful daydreams to life while showcasing Sotwick’s remarkable versatility and quick inventiveness as a performer.
The young lovers, Anthony and Johanna, played by Brandon Metoyer and Savannah Vedovatti, provided a beautiful contrast to the surrounding darkness. Their rendition of “Kiss Me” was tender and hopeful, showcasing their impressive vocal abilities and heartfelt connection.
Sean Davis as Tobias brings a mixture of innocence and pathos to his role. His moving performance of “Not While I’m Around” highlights his character’s pure-hearted loyalty and innocence. Davis’s portrayal adds a touching layer of humanity to the production, making Tobias’s fate all the more heartrending.
Isabella Duran’s Beggar Woman is an impeccable balance of gloom and humor. Her haunting refrains of “City on Fire” stayed with the audience long after she left the stage. Duran’s ability to oscillate between moments of insanity and lucidity gave her character a tragic poignancy, making her performance a standout of the evening.
Silas Vasquez provided a bouyant Pirelli, keeping the role's conviviality just above a sinister layer. As did the portrayals of the villainous Judge Turpin and his Beadle Bamford, played by Aaron Paschall and Nicholas Marshall respectively.
The ensemble’s dedication and talent were evident throughout the performance. Each member brought their unique touch to the crowded streets of Fleet Street, creating a vibrant, sinister backdrop for the main action. Their tight harmonies and unified presence added depth and texture to the production, enhancing the overall experience.
StageDoor's production of “Sweeney Todd” showcases how even a small theatre can deliver a powerhouse performance. With its clever use of space, evocative lighting, and a cast that delivered outstanding vocal and emotional performances, it demonstrated that sometimes the best theatrical experiences come from unexpected places. The show’s meticulous attention to detail and dynamic staging ensured that the dark, twisted tale of Sweeney Todd was both profoundly engaging and deeply moving.
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