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 

Theatre Review: The Curious Incident Of The Dog In The Night-time

Based on the much-loved 2003 novel by Mark Haddon, The Curious Incident of the Dog in the Night-time was brought to the London stage in 2012, and later to Broadway in 2014. Having already own won a mountain of prestigious awards, including seven Olivier awards in 2013, comprising including best of best actor, best set design and best new play, these achievements accumulate to create one the most creative, mesmerising and acclaimed shows to appear in recent years.

The story concerns a mystery surrounding the death of a neighbour’s dog that is investigated by 15-year-old Christopher Boone, who we learn has suffers from Asperger’s Syndrome. The narrative also focuses on vulnerable Christopher’s relationships with his parents and school mentor, specifically the struggle for him and others to create and maintain relationships, and the tragic damage that his relationships creates for the lives of others.

The production is one of the most creatively diverse in the West End currently, due to the number of elements to it that work so well. Everything from the acting, to the staging, the script and close relation to the book is so captivating; there is something for all theatre lovers to enjoy.

The set, for example is seemingly simplistic at first glance, but as the story unfolds, the audience is treated to an array of lighting and sound effects, as well as interesting staging which highlighted the quality of acting, and helped the plot to progress, whereas some hinder and distract play components such as acting and lighting.

The staging also assisted in building the tension of the plot, in tandem with the futuristic, heart-pumping music and effective choreography, which fit the narrative like a glove.

The protagonist, currently played by Graham Butler (pictured), was one of the most precise actors I have ever seen perform. Not only was his portrayal honest, it was very consistent and charming, with excellent execution of the comedic parts, in addition to an extremely expressive and passionate performance in the scenes that demanded nothing less. The supporting cast were also fascinatingly diverse, all playing various parts, keeping the story fresh.

In terms of the story itself, drawing attention to the issues surrounding autism is something rarely, if ever, seen on the West End stage. And I am certain it will seldom be carried out in such an enthralling and informative manner as it is in The Curious Incident….

The story is also composed a blend of emotion-forming moments, so there is something for all members of the audience to enjoy and relate to. And being led by a fantastic yet simplistic first person narration style, you are certain to be allows the audience to deeply immerse themselves in the tale and truly understand the struggles of Christopher.

With everything from top-notch acting, to sensory and emotional overload, this heartfelt rendition of an incredibly popular, poignant and powerful book is nothing short of a wonderful representation of the power of theatre done well.

5/5