Sweeney Todd 'shave and a haircut- two slits'

As you leave the inviting lobby of the Arden and enter the stage doors you are surrounded by an inner circle of cold black stadium stairs that lead to seats with catwalks jutting out of every side of the circle, tattered brick front walls webbed with black fire stairs. Set designer David P. Gordon has created a dark, foggy, depressed, run down neighborhood that takes you back to 19th century London - Fleet Street to be exact.

On a shadowy stage, a smokey spotlight reveals a clean white sheet draped over an object. At the sounding notes of the overture a stream of blood falls from the rafters creating a great scarlet splatter on the cloth. A startling loud factory whistle blows, and the ragged company quickly enters from everywhere to open with "The Ballad of Sweeney Todd."

From the opening song to the final scene the audience is captured, almost trapped, in this gloomy arena where the story unfolds. As Arden's Producing Artistic Director Terrance J. Nolen so aptly puts it "Even today- over a quarter century after Sweeney Todd first premiered- the sheer audacity of this musical still astonishes me" It is a tale of incredible passion and grief and revenge in a macabre world that is laced with a brilliant score and layered with unsavory characters.

The story is of the demented, deeply troubled barber and his obsession for vengeance upon the judge and his magistrate who were responsible for destroying his young beautiful wife, stealing his child, and sending Todd into exile. Thom Sesma plays Sweeney Todd as brooding, plotting and sinister. Looking gaunt and ghastly and very much like "Lon Chaney's Phantom," Sesma delivers his role and vocals with intensity and an ever present inner rage that is seen in his glaring eyes. Sesma reveals his frustration and desperation with impressive interpretations of "The Barber and His Wife," and his "Epiphany."

As if there are no walls, the company enters from stairways and making their ways through the catwalks that engulf the audience throughout the show. Slipping into every dark corner seeming solemn and powerless, they lurk as the tale is told. It's here on the catwalk we meet Anthony Hope, the young sailor who befriends Todd and discovers the beautiful Johanna, played respectively by Ben Dibble and Elisa Matthews. They both do a wonderful job vocally and convincingly as ill fated lovers. Dibble's "Johanna" is dreamy and Matthews "Green Finch and Linnet Birds" is stunning, yet too quickly delivered.

Todd's cheerfully morbid counter partner in crime Mrs. Lovett, Mary Martello has the audience in the palm of her hands for the entire show. She serves as the much needed comic relief for this razor wielding, blood thirsty barber. Martello earns her share of laughter but not at the expense of her character. She attempts to rationalized her outrageous behavior with a healthy dose of maternal practicality as she minces her "priest pies" and prepares them for baking. "After all, it would be a shame to waste all that meat."

In the midst of squirming in your seat from the horrific reality of what is really taking place, one can't help but half chuckle as an entourage of innocent customers who ring the bell for a shave that turns into a one way slit and slide into the brick holding chamber below.

Adding more humor to the horror is a fine display of levity from Todd & Lovett joining forces vocally in a mad version of "A Little Priest." Business is booming as the meat pie café become the talk of the town and Mrs. Lovett has become the strange surrogate mother to a wayward young man Tobias (Joshua Lamon), whose character reveals another layer into this madness. Lovett also sees a future for herself romantically with the barbarian barber, which she is unsuccessful in convincing him of the same vision "By the Sea" for two.

Notable performances are given by James Sugg (who plays Pirelli the comedic con-artist who dares to challenge Sweeney to a barber contest) as well as Todd A. Hormon (Beadle Bamford) who supports the lustful devious Judge Turpin (Bev Appleton). Beadle & the judge make full use of the catwalks and the audience as Beadle offers a lesson in "Ladies in Their Sensitivities" as well as displays his fine vocal range.

Overall the casting was very strong and the scaled down orchestra of nine seemed to hold up better than I anticipated, though I had wished it were larger. While the seating was creative, it seemed to absorb a good deal of the sound making the actors words difficult to hear.

Sweeney Todd is certainly not for the faint of heart or weak of stomach. One can either marvel or question the brilliance or sanity of the creative team of Sweeney Todd.

Music and Lyrics by Stephen Sondheim. Book by Hugh Wheeler. Scenic Design by David P. Gordon. Directed by Terrance J. Nolan

Sweney Todd plays at the ArdenTheater, Philadelphia, Pa from May 19- June 26 For tickets and information: visit www.ardentheatre.org or call 215.922.8900

Photos courtesy of The Arden Theater

 

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