The cutthroat razor is sharpened and ready for the kill in Sweeney Todd: The Demon Barber of Fleet Street.
Forty-five years on, the musical thriller set in 19th century England retains its bite.
It is a tale of murder, vengeance, cannibalism and entrepreneurial spirit.
Photos by Charlie Kinross
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, Joanna, 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 above Mrs Lovett’s Pie Shop.
Mrs Lovett is sweet on the brooding 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.
I am full of praise for this Victorian Opera and New Zealand Opera presentation, which makes the macabre appealing.
With superb vocal timbre and a strong presence, Ben Mingay is menacing as Sweeney Todd. He paints the titular character as short-tempered, driven and unrelenting.
Antoinette Halloran is expressive, effusive and buoyant as Mrs Lovett, as she juxtaposes the horror with humour.
Adrian Tamburini plays Judge Turpin as arrogant, entitled and controlling, while his offsider The Beadle is given a sleazy quality by Kanen Breen.
Margaret Trubiano gives layers to the beggar woman, also trying to sell a bit of slap and tickle. She makes each moment on stage count.
Lachlann Lawton brings loyalty and naivete to his representation of Anthony Hope, a young man who befriends Sweeney Todd on the ship back to London.
He then unknowingly falls for Todd’s daughter and is complicit in Sweeney’s rescue plans.
Alessia Pintabona injects fear into Joanna, while colourful subterfuge is the name of the game for Euan Fistrovic Doidge as rival barber Adolfo Pirelli.
Mat Verevis comes into his own as Pirelli’s downtrodden minion, given a second chance by Mrs Lovett.
They are well supported by the ensemble and the Victorian Opera Chamber Orchestra, conducted by Phoebe Briggs.
There is a haunting quality to much of the lighting design by Philip Lethlean, providing a feeling of unease.
The sound design by Jim Atkins is appropriately atmospheric.
The central focus of the two-tier set design is ever changing and includes Mrs Levitt’s Pie Shop and Sweeney Todd’s barber shop above it.
Set and costume designer Roger Kirk also illustrates the mincing machine and furnace, Mrs Lovett’s home and an institution for the mentally unstable.
Bravo to director Stuart Maunder AM for his impeccable direction. He brings out the best in a highly talented cast.
I greatly enjoyed Victorian Opera and New Zealand Opera’s production of Sweeney Todd: The Demon Barber of Fleet Street.
It is deliciously grim and on at Playhouse, Arts Centre Melbourne until 21st September, 2024.
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