Review: 'Sweeney Todd' - This Is Why Musical Theater Was Born

I have come to the conclusion that SWEENEY TODD, THE DEMON BARBER OF FLEET STREET, is certainly one of the greatest musicals ever created.

It is indeed perhaps the finest work ever to grace any theater at any time. It is difficult to ascertain that this is even the great master, Stephen Sondheim's, truest masterpiece. It probably is. However, with the gifts of COMPANY, A LITTLE NIGHT MUSIC, FOLLIES, INTO THE WOODS, SUNDAY IN THE PARK WITH GEORGE, PACIFIC OVERTURES, ASSASSINS, A FUNNY THING HAPPENED ON THE WAY TO THE FORUM, GYPSY, and WEST SIDE STORY among others on his resume, it takes a huge amount of thought and commitment to go out on a limb and say that SWEENEY TODD is Sondheim's master achievement.

Each time I see it, I become more convinced that it is. Hugh Wheeler won the Tony award for his book for SWEENEY TODD.(SWEENEY won virtually every major Tony award when it premiered on Broadway.) His contribution can not be underestimated. Flowing brilliantly with the music and lyrics, the story of the wronged barber who returns to London to seek revenge and winds up having his barber shop victims baked into Mrs. Lovett's meat pies, is perhaps the greatest book of a musical created for the theater. The words, the actions, the thoughts of the characters, the multi textured plot; these are simply marvels to behold.

Sondheim's Tony winning score is a work of genius. Check my prior columns, dear reader, and you will see genius is a word I rarely use. Mr. Sondheim is a genius and SWEENEY TODD presents the genius at the top of the world. His music and lyrics are something that theater goers of the early part of the twentieth century never dare dreamed for. When Sondheim started excelling on the scene in the late 1950s, buzz began that this man would some day likely create musical theater's greatest achievement. His SWEENEY TODD has done that. His work tells the story flawlessly, enticingly, humorously, thrillingly and with a multi textured beauty unparallelled in theater scores.

This production, designed and directed by John Doyle, is minimal in design and the actors do double duty as the musicians. Mr. Doyle, your concept serves this work brilliantly. It obviously gives us a more intimate SWEENEY. The performances and the music and the singing propel the performance, and it is a glorious ride, one which can be cherished again and again.

I was not expecting the 'knock your socks off' performance of Edmund Bagnell as Tobias. Here, he doubles as the violin player and in this concept, he becomes very much the centerpiece of the work. None of the cast virtually ever leaves the stage, and Mr. Bagnell's every moment on stage is a moment to behold. His performance of Not While I'm Around is one I will never forget.

The cast is uniformly excellent with the possible exception of David Hess in the title role. His underplaying of Sweeney certainly makes him more of an ensemble player. His Sweeney does not come off as the star of this piece. His singing is fine, as is his acting. However, he never comes close to reaching the royal heights a brilliant actor and singer can achieve as Sweeney.

Judy Kaye is a great Broadway star. I first fell in love with her when she starred in ON THE TWENTIETH CENTURY in the 1970s. This great diva went on to create the part of Carlotta on Broadway in THE PHANTOM OF THE OPERA (and won her a Tony award) and in later years starred in MAMMA MIA!, and has graced the stages of dozens of productions throughout the years. Her lusty pie baking Mrs. Lovett, is a riveting glory to behold. Ms. Kaye may be the greatest Mrs. Lovett you or I will ever see. I am not sure which is more fabulous. Her singing voice, which is surely from theatrical heaven, her amazing comic timing, or the simple sheer brilliance of her acting, without ever uttering a false moment. She is incredible. She is also likely still recovering from the huge bravos hurled at her at last night's curtain call.

SWEENEY TODD is a richly complex work, and is best enjoyed by those familiar with it. It is difficult to understand and fully absorb on first viewing. SWEENEY is one of those shows that is better the 25th time you see if than the second time you see it. A huge thank you to all who brought us this work of brilliance for the new year. I will never forget last night's performance of SWEENEY TODD. I suspect theater goers hundreds of years from now will have the same sentiment. SWEENEY TODD's last performance at the Carnival Center is January 6th.

 

 

 

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