Sweeney Todd

Sweeney Todd
By Stephen Sondheim and Hugh Wheeler. Blue Mountains Musical Society. Joan Sutherland Performing Arts Centre, Penrith. My 24 – June 1, 2013.

The Saturday matinee for BMMS’ Sweeney Todd had me captivated from the very moment the house lights dimmed and the organ solo signalled the show’s beginning.

I’d heard that it was going to be a modern interpretation and, being so closely bound to the original musical, wasn’t sure how to feel. Jessica Lovelace, the show’s director, however, delivered. The first most striking moment occurred to me when I realised that there was no set - only the bold black rigging which framed the orchestra up-stage. Clearly, Lovelace intended on creating a piece of intimate theatre, uninterested in the glammy spectacle that most musicals turn out to be. It turned out to be a wise approach, and a freshening one at that, bringing all focus onto the outstanding talents who filled the stage.

The ensemble was on stage at all times. When they weren’t a part of the action, they embodied the sets, or else sat to the sides to watch and react to the drama unfold in the stage’s centre. They always being around in an otherwise not too ensemble-heavy show, was a nice way to include everyone, and a reminder of what community theatre is all about. It did however make it hard at times to know where to look- mind you, even this aspect sometimes worked to the show’s favour.  It was a slick cast, bearing white and black modern city attire, and their movements very polished. The lead dancers Rebecca Roma and Brett Hartnett in particular were phenomenal and carried the weight of the audience’s awe on their shoulders with ease.

David Hidden (pictured right) and Clare McCallum (pictured above), as Sweeney and Mrs Lovett, were the leads that every amateur show team must pray for during the audition process. Both were of an utmost professional standard. Hidden impressed us all with a powerful voice that effortlessly gave me goosebumps. Though at times leaving his acting as second fiddle, his voice emotionally drove the ever-changing pace of the show. Mack was sure to entertain from the moment she stepped out on stage to do “Worst Pies in London”. Her timing always perfect, her voice flawless, she’s someone to look out for in the future.

Simon Halligan (Anthony)’s “Johanna” was beautiful, and had the audience swooning. His acting, particularly in his chemistry with Uma Dobia, his ‘Johanna’, really was so genuine. Dobia really sealed the deal for me. As if her 17 year old, “yellow-haired” self didn’t already scream perfect for 

the role, Dobia daringly brought ‘Johanna’ a whole new dynamic, making her really a standout. It would be easy to fall into Johanna’s portrayed character as the innocent, vulnerable heroine, but instead (whether under Lovelace’s direction or Dobia’s intuition) the Johanna I witnessed was by all means vulnerable, but in no way innocent. Unstable, but determined, the edge created in Johanna made it hard to look away.

Supporting leads delivered strong performances as well, especially Irmaan Daniels as Toby (who courageously ate 3 pies - maybe more - throughout the entire show), Anthony Zarb as Judge Turpin, Josh Walter as Beadle, and Rosyln Blate as homeless woman. Joseph Tarbey as Pirelli carried with him a vocal range which surprised us all.

With so little to talk down on, the show ran smoothly, making it very easy to get lost in the story. Lovelace and her cast didn’t hold back on anything, leaving absolutely nothing up to the audience’s imagination. The bloody, gory special effects took place seamlessly. A big clap from me, BMMS - what’s next?

Sally Alrich-Smythe

Uma Dobia and Simon Halligan as Johanna and Anthony

Sarah Smith (Ensemble Soprano)

Alex Casalini (Ensemble Baritone).

Subscribe to our E-Newsletter, buy our latest print edition or find a Performing Arts book at Book Nook.