Theatre Review: Sweeney Todd: The Demon Barber of Fleet Street.

Set in pop-up style pie shop Harrington’s, in swanky Shaftsbury Avenue, Sweeney Todd is a decadent, comical, and heartfelt play, which boasts all the best elements of theatre.

Wedged between Gielgud theatre, where The Curious Incident of the Dog in the Night-time reigns, and Les Misérables in the Queen’s theatre, Harrington’s pie and mash shop is a 69-seater copycat version of a shop of the same name in Tooting, where the musical was originally set.

Due to its vast popularity, it moved to the West End thanks to composer Stephen Sondheim informing his good friend and theatre producer Cameron Mackintosh of the spectacle. Mackintosh’s office then called the producer of Sweeney Todd, Rachel Edwards, to let her know of a venue that might be suitable for the production, owing to the fact that the original Harrington’s was closing for refurbishment. 

Directed by Bill Buckhurst, who recently co-directed the international touring production of Shakespeare’s Globe’s Hamlet alongside Dominic Dromgoole, the darkly atmospheric play’s residency has been extended until the 30 May, and when you experience what the cast, musicians and behind-the-scenes workers have to offer, it’s no wonder Tooting Arts Club’s production has been so successful.

Sweeney Todd tells the tale of London barber Benjamin Barker, who signature villain Judge Turpin transports to Australia for a crime he didn’t commit, because Turpin lusts over Barker’s wife Lucy. Barker leaves his young baby and wife alone and closer to the clutches of Turpin. Some 15 years later, Barker, now a slightly deranged mad-man renamed Sweeney Todd, returns to London to seek revenge on the man who ripped everything he loved away. Bursting at the seems with tragedy, dark comedy and great characterisation, Sweeney Todd is a theatrical masterpiece.

Jeremy Secomb (pictured on the left), who I was lucky enough to see play the title role in The Phantom of the Opera a few months ago, portrays the role of Todd impeccably, yet still brings his own epic flavour to the character. His piercingly strong yet tender voice is a perfect fit for the music, and his chilling, piercing eyes allow him to haunt the audience into feeling part of the play from start to finish.

Mrs Lovett, Todd’s partner in crime, who is played by Siobhan McCarthy, whose fabulous caricature-style make-up, great comic timing and manic obsession with Sweeney is wonderfully illustrated. The rest of the cast, are some of the most diversely talented actors and singers I have ever experienced. Because of the small-scale style of the play, several actors also create sound effects alongside playing different roles in crowd scenes, as well as their main parts.

The majority of the cast has been involved in the production since its Tooting roots, aside from soaring soprano Zoe Doano as Joanna, Sweeney’s daughter.

There’s also a great trio of musicians, with piano underscoring from Benjamin Cox, gnawing strings from Petru Cotarcea, and clarinet from Rachel Ridout.

As my first experience of immersive theatre, Sweeney Todd does exactly what’s expected and really gets the audience involved, making them feel that they might even be on the menu! If you’ve experienced the simplistic scenery, small cast and physiologically creepy staging of The Woman in Black, get ready for Sweeney Todd.

Breath-taking, intensely tragic and beautifully told, Tooting Arts Club truly does justice to the razor-sharp tale of Sweeney Todd: The Demon Barber of Fleet Street.

5/5