Sweeney Todd The Demon Barber of Fleet Street

When Garrick announced that they were doing Sweeney Todd, there were more than a few raised eyebrows - questioning how to fit such a large show onto the handkerchief sized Garrick stage. Using minimal settings and foregoing a live band, for a quality backing track, Garrick have used a cast of 22 to stage this Victorian stye show.

A bloodless production, we see a lot of red lighting during the gorier scenes thanks to a clever lighting design from Mark Nicholson, who also designed and constructed the set. Using two levels, the show was nicely staged, although, we sometimes had difficulty discerning lyrics, especially when the unmiked performers were at the rear of the stage. Merri Ford nicely created the of-the-era costumes, although there were some discrepancies, such as a muslin gown that wasn’t and men wearing belts.

The small stage means that the often quite creative disposal of bodies was a little awkward (actors more-or-less walked off), but the stage felt very full and strong with the majority of cast on stage. Props were generally good, although the use of a vinyl folding chair - a key and very noticeable prop - jarred.

Mark Thompson, who took over the title role late in the rehearsal period, inhabited Sweeney Todd with edge and expertise, in a very tight and admirable performance, working well with his partner-in-crime, an energetic Katie Nowland as Mrs. Lovett. Ingénue Johanna was played with gentility and a lovely voice by Lily Wakening, while Jeremy Beerkens, making a welcome return to the stage, was a worthy young lover, Anthony Hope.

Grace Edwards shone as the Beggar Woman/Lucy Barker, capturing the pathos of this character while managing to shock on the side, in a scene-stealing performance. Corbin Featon brought simplicity and heart to the challenged Tobias Ragg. Peter ‘Pear’ Carr, another latecomer to the show, brought bluster and malice to Judge Tupin aided by offsider Ben Anderson as Beadle Bamford.

Another welcome sight was Nero Camponovo, returning to the stage after a long absence, and strutting superbly as the egotist Adolfo Pirelli, while Russel Fellows nicely filled the shoes of Jonas Fogg. A hardworking ensemble were kept busy throughout. Singing was strong, although not all harmonies (even allowing for those supposed to be discordant) were well executed.

Somewhat of a cult musical, this is attracting diverse audiences, which is great to see. Congratulations to Garrick for rising to the great challenge of a Sondheim musical.

Kimberley Shaw