SWEENEY TODD

There is no question that Brighton & Hove Operatic Society are ambitious, and choosing Stephen Sondheim’s epic Grand Guignol masterpiece is certainly an ambitious endeavour. But given the scale of their previous productions there was little doubt that they would somehow pull it off.

Sweeney Todd is a work on an operatic scale, layered and often discordant tonality, complex meter and his signature lyrical trickery must be somewhat daunting for even the most experienced cast, but BHOS under the confident direction of Claire Lewis, music director Michael James and singing coach Cirü James pull it off with both style and class.

I already mention that the work is on an operatic scale but it is also a hugely demanding drama, at times peppered, a word Sondheim would approve, with humour. The darkness of a tale of mass murder is illuminated by some of his best comic songs, and to pull that off you need a cast that can carry off the comedy and the fun, and then plunge you into the stark horror.

It needs a talented cast, people who can act and sing, but not just sing, deliver a song that remains in and develops character. More of those principals in a moment but first praise for an amazingly accomplished ensemble. The power of this piece is often left to the chorus and those ensemble numbers are equally if not more complex than the solos and duets. BHOS totally nail them, heart stoppingly dark in tone and in their intimate and confrontational delivery in the confined space of The Hub studio truly chilling. Graham Brown’s movement direction enhances this, elements of mime and pattern making create the bustle of London’s streets. At times it is perhaps a little busy for the space, and in a sense that is a factor that is present throughout. This show, which works so well as it is, cries out for a larger space, room to breathe, and having recently seen a production of another period set piece of musical theatre in The Engineerium in Hove, it cries out for a transfer, especially as this already extended run has totally sold out.

So on to the principals and a fine cast they are, some of them taking on multiple roles and filling out the ensemble as required. Dan Nolloth is an excellent dandyish Beadle Bamford with real vocal purity. Paula O’Sullivan’s beggar woman has great character and a voice that shifts from plaintive purity to pure raunch with ease. Elise Burt brings charming innocence to the role of Joanna and eventually portrays heartfelt desperation. Adam Holland’s vocal skills are a pure delight and his Anthony is utterly believable and likeable, and there are few characters in this tale that one can like. That said one cannot help loving Toby and Ali Henderson is utterly charming, especially when delivering that heart rending ballad Not While I’m Around. Robert Francis gives Pirelli a fiery presence with a soaring voice that pierces the room. Jake Beniston is truly dark as Judge Turpin, a rolling deeply toned voice to match that sinister portrayal of an evil sexual predator, and an unreserved performance on every level.

Duncan Henderson is Todd. It’s a finely crafted dramatic performance, driven and dark, that desire for revenge never ebbing, even when Mrs Lovett is at her most manipulative. It’s vocally a demanding role and at the start a little faltering but by the end of act one that nervousness on the first night has dissipated and by the final scenes he proves that he is more than up to it.

Finally and far from least we have Tania Newton, taking on a role that has been played by some giants of musical theatre. It’s a gift of a role for any actor, comedy balanced by chilling avarice, love songs, ballads and Sondheim’s funniest number from a catalogue of comedy genius. Newton is Mrs Lovett, she embraces the role, becomes the part shifting from sinister to compassionate with gentle but unnerving ease. The songs delivered with note and word perfect precision, expert comic timing and a presence on that stage that is utterly compelling.

Claire Lewis has once again delivered a production that exceeds one’s expectations, does Sondheim proud and proves again that this local theatre group is a force to be reckoned with.

Andrew Kay

14 November

The Campbell Studio Theatre, BHOS Hub

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