Review by Jane Smith and Alayna Een, Front Row Reviewers
Travel with us to London Town in 1846 where we meet a young sailor named Anthony Hope and his mysterious fellow traveler Sweeney Todd. For Anthony, the London docks signal new adventure and love; for Sweeney they forecast revenge. We learn that Sweeney was once a naive barber with a beautiful wife and daughter. When the corrupt Judge Turpin set his eyes on Sweeney’s young wife, Lucy, Sweeney found himself being shipped unfairly to a penal colony. Fifteen years and a strange shipwreck later, Sweeney returns to London with the hope of reuniting with his wife and child. Sweeney enters a meat pie shop located on Fleet Street and meets the widow Mrs. Lovett of the struggling Mrs. Lovett’s Meat Pies. She serves him a bad pie and worse news—Lucy poisoned herself after a horrific incident with Judge Turpin, and his infant daughter, Johanna, was left to become the judge’s ward. Sweeney swears his revenge, and Mrs. Lovett provides the means: his set of sterling silver razors to reopen his barber shop above her store. Meanwhile, in his London explorations, Anthony meets a strange beggar woman and spies a beautiful maiden in a window, who happens to be none other than the yellow-haired Johanna. Their instant attraction angers the judge and opens the door for Sweeney’s revenge. But secrets and blackmail abound as the dark tale fully unravels, one grim and ill-fated decision at a time. One of Broadway’s darkest stories, this compelling thriller has some of Stephen Sondheim’s greatest songs and most chilling conclusions, which make for an unforgettable experience.
As we start the show we are met with the outstanding vocals of the surprisingly large ensemble in the number “The Ballad of Sweeney Todd.” This number completely captivates the audience and immerses us into the show immediately. The whole ensemble shines through crisp and varied choreography and rises to meet the challenge of some of Sondheim’s toughest diction. One stand out, the voice that starts the play, is Ridley Haws, whose emotive and precise lines open and enliven the show. Throughout the entire show this ensemble is strong, dedicated and—my goodness—frightening!
Sweeney Todd (p: Cameron Smith, b: Jonathan Saul) gives us the most stoic character while showcasing so much depth. Smith shows us just how hurt he is from the past and how that has completely transformed him into this vigilante-villain. His vocals are perfect and the acting is terrifyingly brilliant. Saul’s haunted Sweeney captures his character’s macabre journey with a believable intensity that sets up the rest of the story. Mrs. Lovett (p: Joy Austin, b: River Robinson) is phenomenal. Robinson’s Mrs. Lovett stole the show for me. She has such fun with the character and keeps the audience and her fellow cast members on their toes. Robinson is a powerful singer and has great comedic—and seductive—timing. I especially loved her squawking in “By the Sea,” which Austin also captured to a T. Austin’s intricate acting skills showcase the world of the troubled woman that is Lovett and how she will do anything to get what she wants. The Sweeney-Lovett pairs give incredible performances of “A Little Priest” that put the dark in dark humor.
Anthony (p: Jaden Burnett, b: Tyler Rasmussen) gives us a brilliant performance of the hopeless romantic. Rasmussen brings the virtue in his character’s name, Anthony Hope, to his performance. His naive trust in Sweeney makes Sweeney’s second act betrayal all the more poignant. Burnett gives an especially nice rendition of “Johanna.” The other lovebird is Johanna (p: Juliet Ingram, b: Rachel Saltmarsh). Her angelic presence provides a stark contrast for the other elements of the play. Saltmarsh’s and Ingram’s flawless vocals in “Green Finch and Linnet Bird” are especially memorable. The chemistry between the Anthony-Johanna pairs takes the audience back to those feelings of first love and the purity it brings, and it is easy for the audience to root for them.
Jerrod Dew (p: Judge Turpin) truly brings the creepiness out in his character and has the whole audience wanting to see him in the Barbers chair—along with his sidekick the Beadle (Jesse Gibbons). Dew’s performance sends the shivers down our spines, and his counterpart Matthew Davids (b: Judge Turpin) is cool and calculating, creating a chilling portrayal of the incestuous adopted father. Gibbons brings out an impressive falsetto in many of the singing parts and captures the debonair but decadent Beadle. It’s shocking to discover this was Gibbons’ first show, and they should be very proud of what they delivered! These two give us this dynamic duo who we can’t wait to see the downfall of.
Joshua Anderson (p) and Oliver Haws (b) play the young Tobias Ragg, a young lad who is first apprentice to the supercilious and surprisingly sinister con artist barber Pirelli (p: Christopher Stockslager, b: Travis Wright) and then to Mrs. Lovett. Anderson’s performance of “Pirelli’s Miracle Elixir” and “The Contest” has the audience laughing, but what truly blew my mind was Anderson’s performance at the end. Without giving any spoilers, this is done to true perfection, and the entire audience is so silent you could hear a razor drop. For just a moment we forget we are in a show and are instead immersed in this nightmare. Similarly, Oliver Haws is wonderfully trusting as Tobias Ragg, and his scene in act two discovering the Beadle in the basement is what turns the course of the musical most strongly toward horror for me—a truly incredible performance.
Emily Shaw (p) as the Beggar Woman is one everyone needs to see. From her first moment onstage, she brings this troubled woman to life in an absolutely heartbreaking way. This delusional and broken character is giving us the truth in her own way all along. Her vocals throughout the show send chills down the spines of the audience as we hear her sing “City on Fire” over and over. Angela Peterson (b) manages the switch between alm-seeking and lewd soliciting with shocking and comedic timing in her portrayal of the Beggar Woman, but the most compelling moment was her recollections in the attic apartment, aided by the incredible scenic projection shift (Mike Romney).
Director Melissa Van Dam and assistant director/choreographer Mike Romney have truly taken this dark tale and transformed it into true gold. They got their casts to embody their characters and give us a spine-chilling performance. Every single note was a tingle to the ears, and for that, musical director Marion Pack did an absolutely fantastic job. The costumes, beautifully constructed by Ryver Mecham and Rachel Wright, really help take us back to that dark time. The set built by Derrick Cain and his team uses multiple levels to take us all over the town.
The competition for spooky-season theatrical experiences can be very cutthroat, but Draper Historic Theatre’s Sweeney Todd is not to be missed. It will leave you with a different kind of taste in your mouth—or was that the pies?
NOTE: This show is double cast. Razor Blade cast members are noted with a (b) and Rolling Pin cast members are noted with a (p). The show contains mature themes and disturbing images. May not be suitable for younger children (the Draper Historic Theatre recommends the show for ages 12 and up).
A Review by Jane Smith and Alayna Een, Front Row Reviewers
Draper Historic Theatre Presents Sweeney Todd: The Demon Barber of Fleet Street. Music and Lyrics by Stephen Sondheim, Book by Hugh Wheeler. From the adaptation of Christopher Bond
Draper Historic Theatre, 12366 South 900 East, Draper Utah 84020
October 13–28, 2024, 7:00 PM. Matinees at 2:00 PM on selected days.
Contact: 801-572-4144
Tickets: $11–18
Draper Historic Theatre Website
Draper Historic Theatre Facebook Page
Photo credit: Ashley Loewer, Sunshine Studios Photography
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