The Demon Barber of Fleet Street

Sweeney Todd

As the Fall air turns chilly and crisp, and just in time for Halloween, “Attend the Tale of Sweeney Todd,” the Demon Barber of Fleet Street. This horrifying story of revenge and obsession, has been haunting curious and delighted theatergoers for almost 50 years. Based upon a play by Christopher Bond, adapted by librettist  Hugh Wheeler and set to a magnificent score by legendary composer Stephen Sondheim, the opening organ chords immediately set the tone for the macabre melodrama that’s to come. Newcomers to SWEENEY TODD will be shocked and titillated by this musical, with its unconventional characters sharing a grisly tale of terror. But for theatergoers, like myself, who are already familiar with Stephen Sondheim’s musical masterpiece, director Mark J. Bracken Jr.’s creative new production will satisfy their expectations, while offering some unexpected new surprises.

For the original 1979 Broadway production, Harold Prince wanted to create a jaw-dropping visual spectacle to accompany Sondheim’s almost operatic score. An abandoned 19th century iron foundry was transported from Rhode Island and reassembled on the giant Uris Theater stage. The scenic design featured all kinds of moving parts and was dominated by a turntable, on which was built Mrs. Lovett’s Pie Shop. Sweeney Todd’s Tonsorial Parlor was perched high above it. The set represented the essence of the Industrial Age that had been flourishing in England during the era when this story takes place.

In talented Mark J. Bracken Jr’s excellent production, associate directed with skill by Tommy Novak, this talented team presents an original vision for the ghoulish tale. Jerking, unsettled zombie-like movement to the score is provided by choreographer Anna Roemer. The production features a simple, sparse scenic design by Patrick Ham. The environment for this SWEENEY TODD, simplifies the pie shop to a simple rolling cart of baking utensils, the tonsorial parlor to a tiny, somewhat elevated platform, and Johanna’s balcony to a rolling industrial ladder. Much of the eerie atmosphere is achieved by Aaron Lichamer’s terrific lighting design. And Martha Shuford’s excellent costume design, assisted by Jade Andrews, and accented by Roberto Puig’s exaggerated hair and wig design, pull out all the stops. And whoever is responsible for the cast’s makeup designs deserves much recognition, as well. 

 As the doleful chords of the organ play a morbid, melancholy fugue, a small group of modern-day young people creep through the shadows and onto the stage. They appear to be sneaking into some kind of deserted building, with their flashlights aiming at various items that will become more significant once the story unfolds. Suddenly a factory whistle pierces the air. Then, out of nowhere, dozens of ghostly zombies suddenly materialize, tearing down the scrim curtain and dragging the group of young people offstage. With the haunting “Ballad of Sweeney Todd,” sung by the twitching, undead ensemble, a tale of obsession and revenge begins with a bang.

In a nutshell, SWEENEY TODD is the story of Benjamin Barker, an innocent barber, finally returning to London after serving fifteen years in an Australian penal colony on a trumped up charge. He’s changed his name to Sweeney Todd in an attempt to seek revenge on the two evil, corrupt men who destroyed his life and his family. The targets of Todd’s ruthless retribution are smarmy Judge Turpin and his fawning crony, Beadle Bamford. Todd partners with Mrs. Lovett, a struggling pie shop owner, and plans to murder the two deplorable men as soon as possible. But in the meantime, Sweeney decides to prepare for his revenge by murdering barbershop customers with his sharp razors, and then allowing Mrs. Lovett to grind up the bodies and bake his victims into meat pies. 

 There’s so much to recommend about Bracken’s deliciously gruesome musical version of this Penny Dreadful drama,. His production isn’t  all about visual spectacle. Instead, Bracken focuses primarily on the characters, their actions and motivations, and, of course, Sondheim’s exquisite, eerie musical score. First, the cast is simply magnificent, from the talented title role to every gifted member of the company. With every song, the stage fills with incredible vocal performances, the like of which you might expect at the Lyric Opera. Bravo, too, to the accomplished onstage orchestra, as well as an exceptional ensemble that keeps this ghostly production in motion.

Christopher Ratliff makes his Big Noise debut as diabolical  Sweeney Todd. He spends most the show conveying the barber’s all-consuming need for revenge, while demonstrating a softer side in his love for his deceased wife and estranged daughter, Johanna. Ratliff mightily excels in all his musical numbers, showing dramatic power in his “Epiphany,” a touching side in “There Was a Barber and His Wife,” poetic remembrance with “Pretty Women” and a rare comic moment with “A Little Priest.” 

He’s matched with Margaret Garofalo’s divine portrayal of Mrs. Lovett. In the actress’ return to Big Noise Theatre, we meet a sly, sexy woman who has always harbored an infatuation for the unjustly condemned barber. Ms. Garofalo is wryly funny one moment and then heartbreakingly desperate the next. Her relationships to the other characters—secretly romantic with Sweeney and maternal, yet skeptical, with Toby—are honest and layered. Margaret brings some sassy humor to the play. Layering her emotional involvement with new discoveries (“Ideas keep popping out of me head”) this talented actress, whose musical talents are as strong as her acting ability, makes Mrs. Lovett a lovable leading lady. And paired with Christopher Ratliff they make a great team.

The supporting cast in equally incredible. As the Beggar Woman, Sarah Breidenbach proves to be an accomplished, talented actress and skilled vocalist, grounding the “old lady” in a sad reality that is Sondheim’s fictional world. Lovely Lisa Buhelos and handsome Chuck Quinn IV are especially affecting and poignant as young lovers Johanna and Anthony. Quinn’s performance of “Johanna,” one of musical theatre’s most exquisite ballads, is heartfelt and radiant. Ms Buhelos thrills with her sadly tragic and beautifully sung “Green Finch and Linnet Bird.” Both actors meet the challenge of the difficult, but humorous, tongue-twisting patter song, “Kiss Me.”

Travis Monroe Neese’s skillfully sung, buoyant blackmailing Italian street barber, Adolfo Pirelli, is funny, despicable and spot-on. Mastering two dialects as the tonsorial tyrant, as well as lending his considerable musical and comic talents to the ensemble, Mr. Neese is a standout in this production. Henry Lombardo is both heartbreaking and hilarious as the poor, abused orphan lad, Tobias Ragg. Audiences will be impressed by both this young actor’s musical and physical talent, as well as the ease with which he masters this complex role. Whether racing around the space, spitting out the tongue-twisting lyrics of “Pirelli’s Miracle Elixir,” serving up hot, steaming pies at the pie shop or pledging his love and devotion to Mrs. Lovett in the beautiful “Not While I’m Around,” this young man’s performance is solid and memorable. (The role is played by Aron Gomez at certain performances).

Jon Cunningham and Korey White create a deliciously, dastardly duo as the evil and lascivious Judge Turpin and his sycophantic flunky Beadle Bamford. Both heartily handle the musical demands of their roles with ease and richness, while maintaining a menacing, matter-of-fact quality in their characterizations. The Judge’s self-flagellation scene is an inspired interpretation. It’s often cut from productions because of the discomfort it affords audiences. But here it’s handled with taste, thanks to the guidance by Mr. Bracken.

Attend this tale of SWEENEY TODD and be prepared for something familiar and yet new, creative and different in this Demon Barber of Fleet Street. Director Mark J. Bracken Jr. has assembled a talented, topnotch cast of musical actors, all performing at the top of their game. The company is made even richer by the creative contributions of a gifted production team. This unique production delivers a most enjoyable and memorable evening that theatergoers will be talking about for years to come. For those who enjoy their theatre, like their meat pies, skillfully prepared, a little crusty, well-seasoned and bloody rare, this is the perfect production, especially as Halloween approaches. Audiences will be leaving the Prairie Lakes Theater in Des Plaines exclaiming, “God, That’s Good! 

Highly Recommended

Reviewed by Colin Douglas

Presented October 16-November 1 by Big Noise Theatre, at the Prairie Lakes Theater, 515 E. Thacker Street, Des Plaines, IL.

Tickets are available at the door, going to www.bignoise.org or by calling 847-220-7268.

Additional information about this and other area productions can be found by visiting www.theatreinchicago.com.