BWW Reviews: Stage Door, Inc.'s SWEENEY TODD: THE DEMON BARBER OF FLEET STREET is Exciting and Fascinating

If you are alive and well in Houston, you know that audiences were able to pick from three different productions of Stephen Sondheim's infamous SWEENEY TODD: THE DEMON BARBER OF STREET FLEET last weekend. Two of those productions even share the same opening and closing dates. Luckily for Houston audiences, each version of SWEENEY TODD being produced is distinctly different and unique, giving ample reason for local audiences to venture out and experience each one. Pasadena's Stage Door, Inc.'s SWEENY TODD adds the Steampunk aesthetic to the classic musical, giving the production an intriguing facelift that doesn't interfere in any way with the storytelling.

Sweeney Todd has his roots in the foggy urban legends of London. He first appeared in published form as the murderer of the Victorian penny dreadful The String of Pearls. The lauded 1979 musical adaptation of the tale, based on Christopher Bond's 1973 play titled SWEENEY TODD, THE DEMON BARBER OF FLEET STREET, emblazoned this character into our cultural conscious and made him an antihero that is beloved by many. The musical tells the tale of Benjamin Barker, a barber who is forever exiled from London on trumped-up charges. After 15 years, Barker returns under the pseudonym Sweeney Todd, opens a tonsorial shop above Mrs. Lovett's meat pie shop, and sets about his legendary quest for revenge.

Directing a Stephen Sondheim show requires undeniable nerve and talent, especially at the community theatre level. Here Marc Anthony Glover, the Artistic Director of Stage Door, Inc., wonderfully excels. He and his theatre are committed to being as close to professional as possible despite the limitations of community theatre. Marc Anthony Glover previously directed SWEENEY TODD in 2010 at Stage Door, Inc. and is presenting the show again because of popular demand. He adeptly picked up the reigns again, and has excellently coached his cast, with assistance from Lauren White, to enthusiastically tell this thrilling tale. Under their direction, the cast superbly and naturalistically fits every ounce of dialogue and sung lyric in time with the pre-recorded score that runs under the entire production. The cast does a fantastic job hiding that the score is guiding them through the show, delivering quality performances that give the illusion that they control the tempo and pacing of the production.

Starring as the titular character, Colton Wright purposefully employs his fantastic lyric baritone instrument to deliver the complex emotionality of his character. He emotes with fervent passion on numbers like "No Place Like London," "The Barber and His Wife," "Pretty Women (Parts I and II)," and the finale sequence. He shines with indefatigable rage on "Epiphany," keeping every member of the audience on The Edge of his or her seat.

Heather Gabriel is reprising her role of Mrs. Lovett, and does a splendid job creating the character. Her approach is zanier than I am used to seeing, making her portrayal more reminiscent of Angela Lansbury's dotty approach and less like Helena Bonham Carter's and Patti LuPone's markedly sinister takes on the role. She puts wonderful charisma and sweetness into numbers like "The Worst Pies in London," "Wait," and "By The Sea." Yet, she tinges her renditions of "Poor Thing" and "A Little Priest" with darkness, which gives wondrous weight to her darkly embittered rendition of the final scene.

As Johanna, Jana Smith does a spectacular job. Her airy, lithe soprano fills "Green Finch and Linnet Bird" with ebullient life and mirthful whimsy. Despite being caged like the birds she sings of, she remains positive and easily wins the heart of Anthony and that hearts of the audience. She equally impresses on "Kiss Me (Part I)," "Kiss Me (Part II/Quartet)," "Johanna (Reprise)," and the in the final sequences' "Ah, Miss (Reprise)."

Anthony Hope is wonderfully sung and played with sincere youthful energy by Michael Houghton. His takes on "Ah, Miss," "Johanna," and their reprises sparkle with vibrant urgency, capturing our hearts as he strives for Johanna's. He keeps the character spirited, making Anthony's zeal and passion for the girl tangible from start to finish.

As the Beggar Woman, Carrie Doss stuns the audience with a startlingly clean and clear soprano instrument. Her desperate pleas for alms on "Ah, Miss" and other numbers leave the audience empathizing for her, despite her unsuccessful attempts at prostitution that befuddle Anthony and enrage Sweeney. Likewise, her warnings of "city on fire" during "God, That's Good" and the final sequence are perfectly unsettling and unnerving, especially considering the turns that the story takes in those moments.

David Barron's Judge Turpin is suitably villainous as he attempts to remove every obstacle that stands between him and his conquest of Johanna, his ward. Vocally, he follows Alan Rickman's lead and utilizes a talk-singing approach for the role but still finds moments to perfectly harmonize with his fellow cast members, especially in "Lovely Ladies" and its reprise.

The Beadle, the judge's lackey henchman, is deftly played and sung by Mike Ryan. As accomplice to the villain, he does an excellent job making his presence foreboding; however, he allows audiences to masterfully glimpse the character's humanity during the "Parlor Song" scene.

Joseph Concha's take on Tobias Ragg is charming and highlights the emotional and mental instability of the trepid character. At the performance I attended, his renditions of "Pirelli's Miracle Elixir," "God, That's Good," and "Not While I'm Around" did suffer from some pitch issues, but his ardor for performing was palpable and made his performance entertaining.

Jim Wyatt, who talk-sings his Adolfo Pirelli, fills the role with ample humor.

Phillip Graschel's Jonas Fogg is perfectly quirky and discomforting.

The chorus admirably rounds out the cast, filling the stage with motion and creating strong images when needed. At the performance I attended, there were issues with blending and pitches during the numerous reprises of "The Ballad of Sweeney Todd," but this group was delightfully committed to their characters and performances.

Marc Anthony Glover's Set Design, as always, immaculately utilizes the space of his theatre. He crafts and creates ample, beautiful sets that are truly works of art. This one is no different as it skillfully replicates the claustrophobic streets of Victorian London and is able to masterfully show audiences many different locations ranging from the meat pie shop to Fogg's insane asylum.

Marc Anthony Glover's Light Design brilliantly uses color washes to heighten mood and affect tone. He also utilizes some specialty lighting, like gobos, to enhance ambience.

Costume Design by Heather Gabriel, Grace Galloway, and Marc Anthony Glover is strikingly complex and every detail is resolutely attended to. These designs magnificently sell the Steampunk edge to the show, incorporating noticeable and remarkable elements of Steampunk into every piece worn by the cast.

Travis Hamilton's Sound Design ensures that the cast is always perfectly heard above the pre-recorded orchestrations.

As a community theatre dedicated to excellence and presenting live theatre at its finest, Stage Door, Inc.'s production of SWEENEY TODD: THE DEMON BARBER OF FLEET STREET doesn't disappoint. Marc Anthony Glover has assembled a fantastic group of theater enthusiasts that volunteer their time, energy, sweat, and blood. Their hard work shows and pays off, making this Steampunk version of SWEENEY TODD exciting and fascinating.

SWEENY TODD: THE DEMON BARBER OF FLEET STREET runs at Stage Door, Inc. through July 28, 2013. For more information and tickets, please visit http://www.stagedoorinc.com or call (832) 582 - 7606.

All photos courtesy of Stage Door, Inc.

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