Review: SWEENEY TODD at The Gem Theater

The Gem Theatre in Garden Grove, CA, tackles one of Broadway’s darkest musicals, Stephen Sondheim’s Sweeney Todd: The Demon Barber of Fleet Street, armed with every color of light you can think of. Yes, one of the most salient features of this production, to this reviewer, was the unique lighting design. Bouncing delicately between every color of the rainbow, mixing greens with pinks and so on, the Gem Theatre’s gem-colored Sweeney Todd is sinister and jarring. In other words, the production, like the musical itself, is brilliant in an eerie sort of way.

The lighting (designed by Jon Hyrkas) consistently creates a sense of spookiness even in moments that seem calm – often sparking foreshadowing or offering warning that even a tame or tender scene in Sweeney Todd has concerning implications. While the lighting is prominent, it never feels overdone. Even (or perhaps especially) when mixing odd combinations of color, the lighting fits the tone or the action of the scene. The music and the story of Sweeney Todd “should” be enough to put an audience member on edge; the Gem’s lighting design pushes us further into dread and discomfort. Occasionally, the lights feel almost clownish – not in a cartoonish way, but in a way that triggers light coulrophobia. The opening number, with ensemble members emerging from every which way, reminded me of a haunted carnival setting. Perhaps this was because my eyes locked onto a certain ensemble member carrying a doll. Convenient enough; this doll would eventually raise goosebumps on my neck for its use of foreshadowing.

While we are on the topic of design, I should mention the costumes and set, designed by Luis Cornejo and Michael Wogulis, respectively. One of the directors of the show, Damien Lorton, emphasized during his pre-show introduction that everything we see on stage – every set piece, every costume – is built in-house. The program even credits a prop designer (Victor Crisafulli) and a wig designer (Edvan Galvan). Indeed, the Gem Theatre has some masterful craftsmen. The costumes fit the setting well. Mrs. Lovett’s costumes (especially from Act Two) and Signor Pirelli’s were standout pieces, but there was not a costume on that stage that felt out of place. The set was also well-constructed. From moving staircases to low tunnel entrances to a simple and boxy space designating the two stories of Mrs. Lovett’s Pie Shop and Todd’s Tonsorial Parlor, the audience never wonders where the scene is set. However, it should be noted that the sets are not extravagant: this production knows how to make a lot out of a little. 

As for the cast – what a cast. This production is, as I said, brilliant. The cast is no exception. Bryan Fraser plays the titular role, appropriately performed in a stern and creepy manner. He especially shines in late Act One (“Epiphany” and “A Little Priest”) and the whole of Act Two. 

Nicole Cassesso, who first appears on stage giving a remarkable resemblance to Mrs. Lovett’s original actress Angela Lansbury, has no problem making her role her own. The standout performer in the show, Cassesso steals every scene she is in as the crazed but humorous baker of “the worst pies in London.” On that note, her first song provides its singer with immense challenge: it is fast-paced with a tricky rhythm, but also a song that demands more acting skill than beautiful singing – mind you, the singing must be good, but not beautiful. Our Mrs. Lovett jumps right into the song and never misses a beat. She also thrives in her other solo, “By The Sea,” and blends well with Fraser during their duets. 

Sydney DeMaria delights as the ingenue soprano Johanna, opposite her love interest Anthony Hope (Aiden McGuiness). These two characters feel like Rodgers & Hammerstein lovebirds stuck in a horror musical. DeMaria and McGuiness portray this perfectly. Songs like “Johanna,” “Green Finch and Linnet Bird,” and “Kiss Me” are some highlights of the show. James Scognamillo’s Judge Turpin is incredibly creepy, with a rich, deep voice. Never does he disappoint in his portrayal, but his solo, “Johanna (Mea Culpa),” is particularly fantastic. My other favorite performance was by Erika Baldwin: the Beggar Woman. Excellent soprano chops lurking beneath insanity. Baldwin also stands out here for her enunciation, keeping a subtle low-class accent while maintaining clarity in her words. 

The rest of the cast members (including JD Cerruti as Tobias Ragg, Peter Crisafulli as Signor Pirelli, and Trevin Stephenson as Beadle Bamford) also performed quite well, as did the splendid ensemble. 

The Gem Theatre’s incomparable Sweeney Todd runs until September 27th.

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