The cobblestone streets of 19th century London, England are brimming with the all-consuming power of vengeance, whilst populated with meat pies and a murderous barber.
Or at least, that’s the version of London conjured by Stephen Sondheim and Hugh Wheeler in their 1979 musical Sweeney Todd: The Demon Barber of Fleet Street. Paper Moon Theatre brought its own rendition of Sweeney Todd to life, despite some technical faults.
Sondheim’s score and Wheeler’s script use gore and intricate melodies to tell the tale of Sweeney Todd, a vengeful barber who returns to London after being exiled by Judge Turpin for a crime he did not commit.
Driven mad by revenge, Todd lures clients into his barber shop. After slitting their throats, he sends their bodies to the pie shop downstairs, where Mrs. Lovett bakes their remains into meat pies.
Behind the quick-witted lyricism and grandiose orchestration, Sweeney Todd is a story about love, family and revenge. Director Jason Sedlar explored these themes in a passionate, though imperfect, production with a vocally eloquent cast.
Peter Graves portrayed the titular role with a controlled intensity that channelled agony and power. His belting was notable during pivotal moments, providing a particularly menacing delivery of the stand out line, “At last—my arm is complete again” when Todd is reunited with his soon-to-be-deadly silver razors.
Graves’ voice dipped into a growl for “Epiphany,” backed by a dynamic orchestra with a powerful brass section. The actor harnessed lamentful rage as Todd stumbles amongst the people of London, snarling, “They all deserve to die.”
Mrs. Lovett, captivatingly portrayed by Skye MacDiarmid, may not have stolen Todd’s affection amid his obsession for vengeance, but she effortlessly commanded the audience’s attention. MacDiarmid’s flair and faultless intonation made every song a standout. Her conniving smile made it alarmingly easy to root for her immoral character, especially as she deceived Hazel Stanfield’s sweet-natured Tobias Ragg.
MacDiarmid’s performance was light with hints of wickedness, which complemented the resentful Todd. MacDiarmid and Graves’ dynamic was contrasted by wistful lovers Johanna Barker and Anthony Hope, portrayed by Hannah Lundrigan and Jesse Nasmith respectively.
Bradley McDermid’s portrayal of Judge Turpin held an aura of meticulously executed annoyance, twisting the role of Todd’s historically terrifying nemesis. McDermid’s vocals balanced with Graves’ during “Pretty Women,” executing a haunting number seething with apprehension.
However, that culminating apprehension never reached a satisfying peak in Paper Moon Theatre’s Sweeney Todd, due to technical weaknesses and inconsistencies.
The often-delayed lighting, for instance, did not reflect the tone of scenes. With the exception of the sun and clouds decorating the ceiling during “By The Sea,” and the green shade overtaking the stage for the asylum sequence, the cast was too often illuminated in uninspired hues of orange which did not generate any trepidation.
The ensemble and supporting characters were also dressed in uncreative costumes. For example, Nasmith’s all-white sailor garb failed to differentiate his innocence and purity from the white-shirt clad, supposedly evil Judge Turpin. While Todd and Mrs. Lovett were appropriately adorned with attention to colour—Todd’s red vest highlighting his bloody endeavours—the supporting casts’ costumes were seemingly left as an afterthought.
Though engulfed with inconsistent technical aspects, the cast performed with layers of passion and care. Each actor mastered the overlapping lyrical complexities and never faltered during the complex group numbers.
While Paper Moon Theatre’s Sweeney Todd may not be a frightening microcosm of the horror genre, the production was carried by a dedicated cast, working in unison to deliver a sufficient interpretation of Sondheim’s masterpiece.
Paper Moon Theatre’s ‘Sweeney Todd: The Demon Barber of Fleet Street’ played at the Algonquin Commons Theatre from Oct. 7 to 15.
Featured image by Ellen Bond.
