Review: SWEENEY TODD Strikes All the Right Notes at the Marroney Theatre

Some names carry the weight of their legacy. 

To a diehard fan, Stephen Sondheim evokes a singular reverence, not unlike Jonathan Larson's sublime anxiety at every mention of his hero's name (see TICK, TICK...BOOM!).

In Larson's universe, few are deemed worthy of uttering the name. Some of us agree: Sondheim holds a sacred place in the pantheon of musical theater deities, and in this ever-evolving genre, his name rises above all others.

There's a risk of coming off as elitist, but skepticism is justified when staging a Sondheim masterpiece beyond the top-tier Equity setting. Exceptional talent is essential, yet it takes a sophisticated ensemble to navigate Sondheim's intricate narratives and signature wordplay, all set within his uniquely atonal musical score.

All things considered, outliers can humble a rigid purist. The exceptional student ensemble at Arizona Repertory Theatre shattered my assumptions. All along, director Danny Gurwin held a proverbial ace up his sleeve: a pièce de résistance to showcase the grand unveiling of the renovated Marroney Theatre.

This student production of SWEENEY TODD: THE DEMON BARBER OF FLEET STREET differs from your average college showcase. It exceeds every expectation of a university production: a confluence of artistic excellence and technical precision worthy of professional comparison. 

The cast exhibits remarkable talent and a maturity well beyond their years. James Kelley Carroll anchors this fine ensemble, embracing the formidable role of Sweeney Todd, the vengeful barber seeking retribution for the injustices that devastated his life. Carroll, likely in his early 20s, transcends his age and embodies a broken-down prison survivor, burdened by despair, rage, and malevolence. An effortless tenor range stands out, conveying the eerie vulnerability of a man on a quest for justice.

Carroll finds his equal in Grace Gebara as Mrs. Lovett, his shrewd accomplice who runs a faltering pie shop. Gebara enchants with her remarkable mezzo-soprano range, marked by technical accuracy and emotional finesse that sustains her sinister, comedic foil. Watching her is an absolute delight.

A solid supporting cast shimmers with dynamic intensity. John Henderson renders a disdainful Judge Turpin, the sort of fellow you like to hate. Clayton Lukens' Beadle Bamford is a creepy sycophant, a far cry from his most recent leading role in JESUS CHRIST SUPERSTAR. (Lukens emerges as one of the most versatile performers in the program.)

Go down the list and you won't find an appreciable decline in singing or acting quality: a clear sign of a seasoned company. Lydia Schmidt (Beggar Woman) paints an arc of a woman ravaged by life's cruelty, melding the coarse humor of a derelict with the dramatic irony of Sweeney Todd's unfamiliar wife, Lucy. Lily Grubert plays Johanna Barker, daughter of Lucy and Benjamin (Sweeney). Grubert is spot-on in depicting the agony of betrayed innocence, her voice a heartfelt yen for belonging. She falls for the handsome sailor, Anthony Hope, portrayed with sweet gallantry and idealism by John Henry Stamper. 

Brennan Wood (Pirelli) and Gemma Pedersen (Tobias) are no less effective. Kudos to every member of the ensemble, through whose eyes, voice, and gait we find a rich tapestry of love and tragedy. 

There's no comparative weakness from a stagecraft vantage point, where sound quality has never been better and lighting never more poignant and intentional. The product is one thing, but make no mistake: The production is the outcome of the department's first-rate training. Gurwin's astute direction gets an enormous boost from a unified support system: Christie Kerr (Choreography), Joe Klug (Set Design), Matt Marcus (Sound), Ken Phillips (Lighting), Patrick Holt (Costume), Brent Gibbs (Fight Director), Daniel Staggs (Technical Director), and Jamie Reed (Music Director). Student Tiffany Fraser (a senior in BFA Design/Technical) is the Stage Manager.

I've just highlighted a long list deserving of recognition, if for no other reason than to remind audiences of the invisible force that fuels this pre-eminent theatre department. I'm aware of the unresolved public trauma caused by the university's decision to discontinue the program. Intentional or not, SWEENEY is the apt choice; the metaphor of slitting one's throat resonates with an aggrieved following, for that's what it must feel like to lose a vital artistic resource. 

And that, my good friends, is the real tragedy.

SWEENEY TODD: THE DEMON BARBER OF FLEET STREET continues through March 27

Photo Credit: Tim Fuller

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