TWO REVIEWS FOR "SWEENEY TODD THE MUSICAL"

Reviews from NODA local Representative and local musician, Oliver Lister

The following is the review written by Ian Cox, the NODA representative for Worcestershire East, having visited the show on Friday 19 September;
SWEENEY TODD
EVESHAM OPERATIC & DRAMATIC SOCIETY
EVESHAM ARTS CENTRE
DIRECTOR ERIC JONES
PRODUCTION VICKY STANFORD-EDWARDS AND ALISON ROBERTS
MUSICAL DIRECTION ROWAN WILLIAMS
19TH SEPTEMBER 2014
Set in Victorian England, the foggy inhospitable streets of London very quickly become apparent after a strong chorus ‘The Ballad of Sweeney Todd’ opening set on a ship’s deck with dazzling lighting effects depicting the raging storm.
A Powerful Stephen Sondheim musical, this tale is of criminality, corruption, revenge tragedy and romance and no wonder that it has established itself as an award winning musical. A show it is difficult to say you enjoy but in a production of this quality one that can only be subject to complete admiration.
Dean Bayliss played the role of ‘Sweeney’ with all the charm and demonism the role demanded with vocal strength and quality. As his pie-making accomplice ‘Mrs Lovett’, Alison Roberts both vocally and with highly expressive looks was an impressive story teller throughout. Musical expression from them both reflecting their talent in a wickedly funny number ‘A Little Priest’ performed as a competitive game in which they try to outwit each other.
Playing commendably the role of ‘Johanna’ Rhianna Jacobs showed her strong vocal talent and was part of a delightful pairing with Dan Callaghan as ‘Anthony’ her knight in shining armour. Their ‘Kiss Me’ duet caught the right level of romance sensitivity.
James Beaumont portrayed his role as ‘Tobias’ in a highly accomplished manner and was vocally compelling in his duet ‘Not While I’m Around’. Gail Andrews was played ‘Beggar Woman’ both artistically and vocally with conviction and intensity
Ken Knight ‘The Beadle’, in a resplendent vibrant red costume and Jonathan Barclay playing Judge Turpin were excellent. Completing an extremely strong principal line up were Steve Roberts as ‘Pirelli’, John Dix – ‘Bird Seller’ – and Peter Sadler – ‘Fogg’.
Musically the extraordinarily complex Sondheim score presented hurdles for principals and ensemble alike. In solo pieces, duets, quartets and other combinations including full chorus numbers these were met with great success and professionalism. With thanks to a balanced live orchestra, which at times could have had a softer tone.
Many outstanding on stage performances were enhanced by lighting and sound effects, a superbly effective set and high quality period costumes with complimentary stage make up in evidence. Spine chilling precise intimidating moves ensured that ‘Sweeney’s’ unlucky clients who did not escape the Demon Barber’s vengeful blade were sliding from the seat of the chair to ‘Mrs Lovetts’ bakery, prompting the audience to gasp, having each time witnessed blood spurts on cue that added that special sense of a realism .
This musical thriller and often acknowledged as one of Stephen Sondheim’s greatest achievements. This thrilling spine chilling edge of the seat production was impressive all round. Comedy, tragedy, and madness in this gripping musical combined meritoriously, providing the audience with a memorable theatrical experience and huge congratulations to all involved at EODS.
Ian G Cox, Regional Representative – Worcestershire East
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The following is the review written by Oliver Lister, local musician and musical director, having visited the show ;
Sweeney Todd Review – EODS Friday 19th September 7.30pm at Evesham Arts Centre
“What a dirty, grimy, tragic and excellent show this was. Before the action was hardly underway the Dickensian mood was upon us; the gloomy angular set with its dull London backdrop already laid bare that something, not very nice, was about to happen. This was further enhanced by the atmospheric lighting which stayed with us throughout the evening. I must confess that I am not a fan of Stephen Sondheim’s work for, quite frankly, I feel he is a composer whose music you either love or do not. I fall into the latter camp. But in due deference to the composer’s music, the director’s keen staging and the acting and singing I came away having enjoyed the musical immensely.
The two main protagonists -Sweeney Todd, played by Dean Bayliss, and Mrs Lovett, played by Alison Roberts, held the stage throughout the evening. Their performances were convincing, confident and, at times, spine- tingling. Despite being such dreadful characters they gained the sympathy of the audience with their precise acting, cool deliverance of Hugh Wheeler’s script and the developing relationship on stage. Dean Bayliss was always darkly foreboding and the strident Mrs Lovett, who is very much a Lady Macbeth, steered the drama forward with her comic timing; but as with all nasty people, they both met a well deserved end with Lovett being thrown into the basement oven and Todd killed off by Tobias.
The other principles in the cast provided very assured supporting roles. Love sick Anthony moved around the stage completely unaware of the devilry created by Todd, with only eyes for the languid and oppressed Johanna. Both parts played admirably by Dan Callaghan and Rhianna Jacobs. The Beadle (Ken Knight), Judge (Jonathan Barclay), Pirelli (Steve Roberts), Bird Seller (John Dix) and Fogg (Peter Sadler) played their parts with relish. It was a joy to watch Steve Roberts parry with Todd and lighten the mood for a short while and Jonathan Barclays’ questionable role as the guardian of Johanna was decidedly creepy. Gail Andrews’ part as the beggar woman was played with conviction. She very successfully managed to fool us into thinking that she had periods of lucidity when actually she was significantly disturbed; and her murder by Todd, of course, provided the final twist in the tale. James Beaumont’s character, where he played the simple Tobias, demanded a plethora of emotions which ranged from feeling alone to being part of a family and then a dawning that all is not well at Mrs Lovett’s. This role was superbly played by James.
The story is based on a penny-dreadful Victorian melodrama and has seen many variants on the work. This musical thriller was composed in 1979 and is arguably Sondheim’s best work. Although his music is not always easy to listen to I think it is only this composer who could have created the score for Sweeny Todd. The catchy tunes of Lloyd-Webber or Rogers and Hammerstein have no place in a tale this macabre. The musical required a score which created tension and drama from the start; Sondheim achieves this superbly. Director Eric Jones quite evidently knew what he wanted; a theatrical piece where one was left in no doubt about the horrendous nature of the story. The themes of cannibalism, toxic relationships, and psychopathic love were brought to the stage in subtle and bleak ways.
The fine music was led by Musical Director Rowan Williams. The chorus sang well and much of the solo singing was excellent. All supported by a band which played faultlessly; a tour de force as much of the music was re-scored to suit the group assembled. Percussionist Tim Gutteridge, with his tonal gymnastics, was to be particularly commended. The cast of EODS and those who assisted in its production are to be congratulated on the performance of a very difficult work. I may not be a Sondheim fan but I am very glad not to have missed this EODS show.”
Oliver Lister, September 2014