Once you meet the “demon barber of Fleet Street,” Stephen Sondheim’s most chilling creation, you’ll never be quite the same. Thanks to a razor-sharp ensemble and a charismatic leading actor, the Cabrillo Stage production of Sweeney Todd: Demon Barber of Fleet Street delivers a wealth of cutting-edge moments.
The rambling set thrusts us into the jagged industrial edges of 19th-century London, with the crisp opening number, “The Ballad of Sweeney Todd,” setting the tone for the entire production. Kudos to choreographer Melissa C. Wiley for brilliant movement design throughout. Constructed to show us the ugly underbelly of London’s squalid districts, the set envelops the entire stage, with plenty of darkened doorways for secret surveillance.
We quickly meet Sweeney (the magnetic Adam J. Saucedo), newly returned from unjust exile in Australia thanks to a corrupt judge, and accompanied by a young seaman, Anthony (Conor Warshawsky). Sweeney soon meets up with devil-may-care baker Mrs. Lovett (Angela Jeffries), maker of the “Worst Pies in London,” who helps set him up in the barbering biz once again. From his lodgings upstairs above Mrs. Lovett’s pie shop, Sweeney begins plotting bloody revenge on the man who stole his life.
But in the meantime director Andrea L. Hart has a few juicy treats in store for us, executed by the adroit ensemble who create some of the play’s best moments, from the opening “Ballad of Sweeney Todd” to the outrageous “Pirelli’s Miracle Elixir,” led by the stunning Michael Navarro as Tobias and an oleaginous rival barber played by Louis Santia. Sweeney and Mrs. Lovett invent new ways to fill her meat pies with a steady supply of fresh flesh and business begins to boom. And Sweeney begins setting a trap for his longtime enemy, Judge Turpin (David Murphy).
The second act opens with an exuberant street crowd all praising the new culinary trend, “God, That’s Good!” And with young Tobias as their new employee, Sweeney and Lovett are poised to reel in the corrupt judge. (A caveat: the musical thriller created by Sondheim is justly famous, but it contains a hugely ambitious suite of subplots. More than it can comfortably contain.)
Special praise for Skip Epperson’s ingenious set that offers up the gruesome execution of Sweeney’s victims in believable style. Pure dazzling stagecraft.
Ah our Sweeney! The electrifying eyes, face and physical mastery of Adam Saucedo commanded the stage throughout the show. He creates an enthralling character, with a compelling voice and chilling gestures. The scenes in which he dispatches his barbershop victims—we all know what’s coming!—are expertly finessed with endless bravado. In a word, he slays! We never actually see the brutal deeds, but the elegance of Saucedo’s violent gestures convinces us we’re watching the demon barber making mincemeat of his patrons. The point is made with electrifying realism, yet without being gruesomely graphic.
Special praise for shooting star Michael Navarro, a standout in last year’s production of In the Heights. As Tobias, he coordinates a skillful singing voice with quick, nimble stage movements. His duet with Mrs. Lovett, “Not While I’m Around,” deepens the story’s bittersweet tensions. Angela Jeffries is a saucy stage presence and a fine, if tame, Mrs. Lovett. I would have loved to see what she might do with more expansive use of the stage and an edgier characterization of one of Sondheim’s great creations.
Played against the pathological satire of Sweeney and his razor-sharp vendetta is a love story between young seaman Anthony and new love Johanna (Haley Clarke), who is actually Sweeney’s long lost daughter. As kinks are ironed out during the opening week, these scenes are sure to tighten up. The music written for the two lovers is both complex and fast, so fast that the lyrics often become incomprehensible and dampen the emotional impact of these scenes. As the music speeds up, and the lyrics go ballistic, Daniel Goldsmith’s orchestra lapses out of sync with the singers. The orchestral volume erases a lot of the solo singing. Again, easily remedied in future performances.
A big shout out for the irrepressible Melissa Martinez, who brings focus and zest to every scene she’s in. Jorge Torrez made a memorable Beadle—such a voice! Kudos to Louis Santia for his hilarious creation of Adolfo Pirelli. And let me say it again, Adam Saucedo should patent his vocal brilliance. He is a riveting Sweeney Todd.
The two-and-a-half-hour production delivers plenty of entertainment, spectacular ensemble work and a terrific leading actor, all amidst the manic genius of Stephen Sondheim.
Cabrillo Stage’s production of Sweeney Todd: The Demon Barber of Fleet Street, directed by Andrea L. Hart. Music and lyrics by Stephen Sondheim; book by Hugh Wheeler. Through Aug. 10 at Cabrillo College Crocker Theater. cabrillostage.universitytickets.com
