Stephen Sondheim’s ‘Sweeney Todd’ – Meaty Material Performed to Perfection at Company Theatre

Sweeney Todd – Music and Lyrics by Stephen Sondheim. Book by Hugh Wheeler. Directed by Sally Ashton Forrest. Musical Direction by Steve Bass. Lighting Design by Dean Palmer Jr. Costume Design by Bri Plummer. Set Design by Ryan Barrow. Presented by Company Theatre, Norwell, through October 23.

by Linda Chin

Legendary lyricist-composer Stephen Sondheim, who became a “giant in the sky” in November 2021 at the age of 91, is arguably the most important figure in musical theater history, and Sweeney Todd is arguably his masterpiece. Yet it is produced less frequently by regional and community theaters than Company, Gypsy, or Into the Woods. Set in London during the Industrial Revolution, the story of a villainous duo who make meat pies filled with human remains is brilliant, but more macabre than Sondheim’s other works, and most musicals in general. Its dark presentation of lust, murder, obsession and revenge, societal and mental health decline, may not appeal to audiences looking for light-hearted entertainment in these depressing times. Even in the best of times, it is a colossal undertaking that asks for customized set pieces and scenic elements, and actors and musicians who can play the complicated characters and handle Sondheim’s challenging score. 

Sweeney Todd and Mrs. Lovett, the demon barber and devilish baker are indisputably the most challenging roles in the production to perform – and to cast. The performances of Len Cariou and (the late) Angela Lansbury who originated the roles on Broadway, Michael Cerveris and Patti LuPone in the revival, and even Johnny Depp and Helena Bonham Carter in the recent film offer different interpretations of the characters, and are seared in many people’s memories and create expectations. With part of Sondheim’s genius being his intentional inclusion, placement, and emphasis of every word and note, and these characters’ complex motives, the demands on the actors to memorize and master the material must be intense. I get overwhelmed just thinking about it.

Under the direction of Sally Ashton Forrest and musical direction of Steve Bass, actors Peter Adams and MaryAnn Zschau perform the meaty material in their leading roles to perfection. This operetta-like musical play is mostly sung-through, and demands master storytellers – razor-sharp actors and singers. Todd and Lovett each have credits in 15 of the 39 musical numbers.

Todd’s commanding presence is evident from the moment he steps on stage and introduces himself as the demon barber of Fleet Street. His time in exile has hardened his soft side, and we get few glimpses of his backstory, or current capacity for close relationships. When he slashes his victims’ throats it’s shocking and gory – but matter-of-fact. A scene with Todd, standing  forbiddingly on the stage’s upper level, delivering a thunderous release of pent-up emotional anguish that goes for your jugular was truly terrifying. (At the performance I attended angry torrents of rainfall hit the theater’s roof right on cue). Experiencing Todd’s grief and fragility in the final scene was heartbreaking.

Zschau’s opening number ‘The Worst Pies in London’ (when Lovett and Todd reconnect in the Fleet Street shop) is a tour-de-force; she makes performing this song, with its complicated lyrics and rhythms punctuated by pounding her rolling pin – all while vigorously rolling out dough – look effortless. Zschau convincingly portrays Lovett as a strong villainess, hard-working businesswoman, loyal accomplice, caring guardian, and woman with dreams. Lovett has more solos than any other cast member; she is an important part of the storytelling and her words (the truths, the lies, the unspoken) affect the characters’ trajectories.

As a musical production and Sondheim creation, it is the collaborative and harmonious moments that make Sweeney Todd soar. Adams and Zschau have wonderful chemistry, and their rendition of ‘By the Sea’ was playful and delightful. ‘Not While I’m Around,’ Lovett’s duet with Tobias Ragg, a young boy she takes into her home, is performed by Zschau and a very expressive Elijah McTiernan with tenderness and trust. The duet ‘Kiss Me!’ blends the beautiful voices of Sweeney’s friend Anthony (Shayan Sobhian) and daughter Johanna (Dru Daniels) as they fall in love.

Actors Christopher Hagberg (Judge Turpin), Michael Hammond (Jonas Fogg), David Lynch (The Beadle), Matthew Maggio (Adolpho Pirelli), and Carol Stearns (Beggar Woman) play the society’s con men, corrupt officials, prostitutes. Hagberg’s Judge Turpin, whose lust for Johanna is revealed in ‘Pretty Woman,’ is particularly lecherous and cringey. The actors’ portrayals are so convincing that the show’s premise that unsavory characters would make delicious fillings for savory meat pies requires a big suspension of disbelief. Sweeney Todd’s ensemble of 15, who shift from playing a homogenous Greek Chorus to crowd members (‘Pirelli’s Miracle Elixir’) to customers of Lovett’s pie shop in (‘God, That’s Good!) to lunatics (‘Fogg’s Asylum’) and Music Director and Conductor Steve Bass’ fifteen-piece orchestra who play this challenging score with incredible precision and passion are deserving of praise. But a special shout out to the stage crew responsible for rotating the colossal two-level set structure multiple times in the course of this production with as much strength and as little noise as possible – and all the unsung heroes that bring a musical production to life. For tickets and information, go to: https://www.companytheatre.com/