9.85°C Since its short-lived original London production in 1980, Sweeney Todd has grown into one of Stephen Sondheim’s most admired and best-loved works. Having attended many productions over the years, I always hope a new interpretation will reveal something fresh. Platform Musicals achieve exactly that with an astonishing reconfiguration of the material – a stripped-down, chamber-style version that uses every inch of the Headgate stage, wings and auditorium.
Andrew Hodgson’s inspired direction reshapes the piece so effectively that it feels newly minted. Rather than blood pouring from cut throats, a vivid red light bathes the stage and exit doors – a symbolic choice that sacrifices none of the horror. The strength of the storytelling is paramount, and here the ensemble delivers with clarity and commitment. The vocal standard across the company is exceptional; lyrics often lost in Sondheim’s intricate cross-singing ring out with remarkable precision.
At the centre is Graham Bowden, outstanding as the tortured barber. His portrayal makes painfully clear how consumed Todd is by revenge and how incapable he is of returning to any semblance of normal life. His performance gains further intensity in Act Two, shedding the unnecessary wig and revealing a leaner, more menacing presence.
He is superbly matched by Sally Fisher’s layered Mrs Lovett – manipulative, sly, affectionate and hopelessly besotted. Fisher navigates the emotional shifts with impressive subtlety. Their duets are among the production’s many highlights, particularly A Little Priest, where the infamous pie-filling plan is hatched with wicked delight.
Barney Fritz gives a mature and moving performance as Toby, the lonely orphan driven to madness by his proximity to Todd. Caroline Fritz lends the Beggar Woman both humanity and poignancy, holding back the climactic revelation with restraint. Adam Duarte-Dias brings vocal power and stage presence to Anthony, hopelessly in love with Joanna – Todd’s daughter – sung beautifully by Jenny Collins, whose first appearance immediately wins over the audience. David King achieves something rare: a fleeting moment of sympathy for the sinister Judge Turpin, whose self-flagellating torment over his feelings for Joanna adds complexity to the villain.
Under the assured musical direction of Neil Somerville, tension builds steadily, carried by a cohesive and disciplined ensemble. It is the kind of production that leaves you wishing for an extended run.
★★★★
Until 21 November 2015
Box Office: 01206 360000
www.headgatetheatre.co.uk
Picture credit: Sally Parkinson Photography
