The subject matter might be stomach turning, but its entertainment and engagement value certainly is not. Soundworks Productions’ Sweeney Todd is triumphant thanks to strong performances, astute direction and compelling staging. If you have never seen Sweeney Todd before, I dare say that having done so you will never look at meat pies quite the same way again. It is a tale of murder, vengeance, cannibalism and entrepreneurial spirit.
Benjamin Barker has been framed and is exiled to a penal colony in Australia by the malicious Judge Turpin. Turpin abused his wife and stole his daughter, Johanna, keeping her as his ward, hidden from the outside world. Fifteen years later, Barker returns to London under the name Sweeney Todd, looking for retribution. A skilled barber, he gets back into business on Fleet Street, above Mrs Lovett’s Pie Shop.
Mrs Lovett is sweet on the marauding Sweeney Todd and takes it in her stride when his close shaves end up with slit throats. In fact, she capitalises on the idea, grinding the meat into her hitherto flavourless pies, whereupon she is inundated with customers. Meanwhile, Sweeney Todd is intent on tracking down and rescuing his long-lost daughter.
Sweeney Todd was concocted in 1846 as a penny dreadful – being cheap, pulpy, illustrated pamphlets containing stories of criminals, detectives and the supernatural. It was instantly popular and by 1870 Sweeney Todd became a familiar, household name. In 1973, Christopher Bond turned the story into a hit play. With book by Hugh Wheeler and music and lyrics by Stephen Sondheim, the musical first appeared on Broadway in 1979. That production went on to claim seven Tony Awards, including Best Musical, Best Book of a Musical and Best Original Score. It continues to resonate today.
With powerful vocals, Aidan Niarros brings depth and polish to the titular character. Kate Yaxley is superb – lively, spirited, melodic and comedic – as Mrs Lovett. Ashley Garner has a delightful, ear-pleasing tone as Sweeney Todd’s ocean rescuer, idealistic young sailor Anthony. Annabelle Rosewarne is positively operatic as daughter Johanna. Amy McMillan has a strong presence as a beggar woman cum prostitute who tries to latch onto Anthony and Sweeney Todd when the latter arrives back in London.
Vocally demonstrative, Christian Gillett is dominant and fearsome as Judge Turpin. With a supercilious grin, Daniel Hillman is entitled as the judge’s right-hand man, Beadle. Flamboyance is the calling card for Teddy Burgess as Sweeney Todd’s fake Italian rival barber Pirelli. Burgess and Brendan Matthews, who plays Pirelli’s beleaguered offsider Tobias, bring vocal acuity to their roles. Matthews transitions well from comic sidekick to a tragic, vulnerable and loyal figure when Tobias is employed by Mrs Lovett.
Musically, Sweeney Todd is particularly potent, with many melodies immediately striking a chord with an enthusiastic audience. Musical director and conductor Jack Barnard and the band are in fine form. Choreographer Skylar Delphinus ensures the ensemble’s fluid movements are eye catching. Director Benjamin Samuel has cleverly chosen to set the musical in purgatory, rather than in historically faithful 1840s London. The dour, imposing two-tier set with its archways, nooks and crannies, designed by Harry Gill, works a treat.
Costume designer Jessamine Moffett has crafted a series of striking outfits beginning with maroon coloured full head and partial body covering. The full range of outfits straddles the more restrained to the overtly showy. A feature of the production is the lighting design by Sidney Younger, who makes excellent use of light and shade. Rich reds and a burning orange for Mrs Lovett’s oven run far and portray the evil inherent in the narrative. Sound designer Thanu Moulton also capitalises on the darkness.
Director Samuel has done a fine job, drawing us into the heart of the action from the get go and holding us tightly throughout. Soundworks Productions has brought real creativity and bite to Sweeney Todd: The Demon Barber of Fleet Street. Two hours 45 minutes, including interval, it is on at Chapel Off Chapel until 23rd September, 2026.
Alex First
Other reviews you might enjoy:
- Sweeney Todd: The Demon Barber of Fleet Street (Arts Centre Melbourne) – musical theatre review
- American Psycho: A Musical Thriller (Chapel Off Chapel) – musical theatre review ★★★★½
- Carrie: The Musical (Patrick School of the Arts), at Chapel Off Chapel – musical theatre review
Alex First is the editor of The Blurb. Alex is a Melbourne based journalist and communications specialist. He also contributes to The Blurb on film and theatre.