Theater groups that decide to produce "Sweeney Todd: The Demon Barber of Fleet Street" should have their collective heads examined. With one of the most difficult scores to sing in all of musical theater and a bloody plot that turns some stomachs queasy, "Sweeney Todd" comes with at least two significant strikes against it before the first rehearsal ever begins. So when The Encore Musical Theatre announced it was staging Stephen Sondheim's musical masterpiece, I questioned its sanity – mostly because of its policy that mixes Broadway veterans, local professionals and tons of amateur thespians in all of its shows. (As past reviews here and elsewhere have indicated, such a philosophy doesn't always serve their shows well.
But my fears disappeared after an ovation-worthy prelude on opening night. And by play's end, the standing O it received was – for once in this easy-to-please market – genuinely earned.
What makes the production succeed is threefold: director Dan Cooney's exploration of the text, his almost uniformly excellent singers and Daniel C. Walker's set.
In many productions of "Sweeney Todd," the focus is on the songs, the plot's thematically dark elements and how to best portray the numerous neck-slicings. Cooney, however, digs into the story's characters and finds all sorts of gems to develop – most noticeably the show's many funny, heartwarming and sexy moments. (Yes, you read that correctly.)
That's especially apparent with Sarah Litzsinger's superb work as meat pie maker Mrs. Lovett – my favorite interpretation since Angela Lansbury tackled the role a few decades back. Sure, she has a screw loose, but Litzsinger puts a lively spring in Lovett's step, and wraps her in a sweet and charming goofiness that's irresistibly delicious. (Unlike her pies, of course.)
Conversely, Walter ONeil's Sweeney broods and allows his anger to bubble tightly inside, all the while waiting for the appropriate time to let it loose. And what he lacks in height – he's probably the shortest Sweeney I've ever seen – is far surpassed by a powerfully imposing, yet quiet intensity that always lurks behind his every glance.
The show's other gem is Paul Hopper as Judge Turpin. His numbers with ONeil – "Pretty Women" and "The Judge's Return" – are spot-on perfect.
Fine support is provided by the always-excellent Steve DeBruyne (Anthony Hope), as well as by Scott Longpre (Tobias Ragg). And Thalia Schramm (Johanna) reaches some of the highest notes in the entire score with impressive ease.
Cooney also gives careful attention to his ensemble and minor characters. Each person has a distinctive look, thanks to the Goth-themed costumes and make-up by Sally L. Converse-Doucette. Meanwhile, with but one or two exceptions, music director Tyler Driskill coaxes crisp, pitch-perfect vocals and smooth harmonies from the troupe.
Most impressive, though, is the ease at which Cooney's cast of 23 moves and dances about the set. Walker's deceptive design utilizes multiple levels, many doors, raised walkways across the left of the house and space above and behind the audience to give Cooney plenty of space to work with.
The only disappointments for some may be the "artistic" way in which the suddenly deceased are removed from Sweeney's barber shop, and the lack of blood – squirting or otherwise. Plus, the usual opening night gremlins made their appearances – such as wayward spotlights, actors not finding their lights (a problem with the amateurs, not the pros) and a few dance numbers that need tightening.
REVIEW:
'Sweeney Todd'
The Encore Musical Theatre, 3126 Broad St., Dexter. Thursday-Sunday through Oct. 18. $28. 734-268-6200. http://www.theencoretheatre.org
