by Stephen Hu
Revenge, murder, rape and cannibalism are dark themes for any drama, but the genius of Stephen Sondheim’s “Sweeney Todd: The Demon Barber of Fleet Street” is the compelling music and lyrics that transform this macabre tale into a theatrical masterpiece — one of his most acclaimed shows since it debuted in 1979. The Riverside Center for the Performing Arts presents an excellent production of “Sweeney Todd” for Fredericksburg area theatergoers.
As director Patrick A’Hearn states when introducing the play, “Everyone thinks that Sweeney is Jack the Ripper, but he’s not. He’s a human being.”
This is the magic that Riverside’s production brings to life. The characters of Sweeney Todd and Mrs. Lovett, played by Christopher Sanders and Nancy Anderson, bring out the humanity in these desperate roles.
This is Sanders’ fourth time playing the role, and he has mastered the dark mood of Sweeney Todd with a commanding bass-baritone voice. Over 80% of the performance is sung, so the story is conveyed through the songs.
“I don’t really see him as a villain,” Sanders said. “I see him as a wronged man, kind of taking justice into his own hands.”
Besides the serious dramatic side of the character, Sondheim tempers the story with moments of comic relief. A good example of that comes in Act II.
“There’s a number in the second act, ‘Johanna’ reprised, in which I kill two people, but I’m singing this lovely ballad, and during this ballad, I’m basically slicing the throats of two people,” Sanders said. “So it’s kind of comedic in a way. There’s a lot of levity in the show, as well as the darker aspects of it.”
That comic aspect of the show is showcased in the character of Mrs. Lovett. Nancy Anderson reached into her own family history for one of the show’s lighter songs, which Anderson considers one of her favorites.
“Stephanie (Wood), the choreographer, really just let me have free rein, and the thing that I love about Mrs. Lovett is how much of a vaudevillian she really is. She is such a zany creature, and to me there’s something very vaudeville about the ‘By the Sea’ number. In England they were called music halls. My great-grandmother was a music hall performer back at the turn of the century in London.”
Anderson credits much of her performance to the original Broadway production of “Sweeney Todd,” which featured Angela Lansbury in the role of Mrs. Lovett.
“Theater is a passed-down art, and in the old construct of theaters, like at Stratford or in England, the older actors would train the younger actors, and that’s how it’s been done for hundreds of years until the late part of the 20th century when we developed these theater programs in colleges,” Anderson said. “I teach at Shenandoah and JMU and George Mason and Mary Baldwin, so I treat that as my opportunity for participating in the passed-down art. But when Angela Lansbury cemented such a brilliant performance and passed it down on film for the rest of us, we better freaking pick that up. It’s not going to be exactly the same, but she taught me. I’ve been watching the video of Angela Lansbury since I was 12 years old.”
Another fine performance is turned in by Andy Wynn as the devious Judge Turpin. He is a strong counterpoint to Sweeney’s anti-hero protagonist. Wynn gives his character an evil, lecherous shine matched by his unchecked ego, which becomes his downfall.
Judge Turpin’s lackey sidekick, the Beadle, is played by frequent Riverside actor Ian Lane. Lane’s low tenor is effective in both his main role and as part of the ensemble songs.
Madison Cox returns to Riverside, after her fine performance as Amy in “Little Women,” as Sweeney’s daughter Johanna. Her operatic duet with Marco Giacona as her suitor Anthony Hope, “Kiss Me,” is a highlight of Act I.
Daniel Pippert plays the flamboyant faux-Italian rival barber Adolfo Pirelli. His contest scene with Sweeney is perfectly played and choreographed with the ensemble.
John Sheldon, a young actor with a fine vocal range, plays the naive and tragic/comic character of Pirelli’s assistant Tobias Ragg.
Elizabeth C. Butler plays the beggar woman, who is a minor character in Act I but has a key role in Act II, which she performs effectively.
The ensemble cast has a big part in “Sweeney Todd,” as they function as a traditional Greek chorus by stepping outside the action and moving the narrative with songs such as the recurring “The Ballad of Sweeney Todd.”
The orchestra, led by musical director Carson Eubank, provides a sweeping musicscape for the entire production. The eight-piece ensemble often sounds much bigger, with keyboards filling in additional parts as well as piano and organ.
The stage sets, created by scenic designer Christian Flemming, put the audience in 1840s London. A movable staircase helps to create dramatic movement in several scenes. An innovative trapdoor and slide show the audience how Sweeney’s victims become Mrs. Lovett’s pies.
“Sweeney Todd” may be a dark story, but the brilliance of Riverside’s production provides audiences with an exhilarating and entertaining evening.
“It appeals to a wide variety of audience members,” Anderson said. “If you like really good storytelling, there’s nothing better than Sweeney Todd. If you like great lyrics and great melodies, there’s nothing better than Sweeney Todd. If you love symphonic sound, nothing better than Sweeney Todd, and if you like gore and that sort of old-school, turn-of-the-century British Grand Guignol, then this is your show.”
