Sweeney Todd: The Demon Barber of Fleet Street is a dark musical thriller by Stephen Sondheim and Hugh Wheeler, performed by Tomorrow Youth Repertory (TYR) at the Academy of Alameda, 401 Pacific Avenue, through July 20.
Set in 19th century London, the story centers on a barber, Benjamin Barker, whose wife Lucy has caught the eye of local Judge Turpin. The judge deports and imprisons Barker on false charges to clear his way to Lucy. When Lucy spurns his advances, the judge takes her infant child Johanna as his ward.
Lucy spirals into mental illness during the 15 years her husband is in prison, but he escapes and returns with the help of a young sailor, Anthony. Using his new name, Sweeney Todd, he sets up a new barber shop over the pie shop of Mrs. Lovett, a widow, who is eager to help.
Todd is focused on rescuing his daughter from Turpin’s clutches and exacting revenge on all who have harmed his family. When someone recognizes him from his previous life, Todd makes a split-second decision on how to eliminate the risk. That sets him on a path of destruction, and the only question is how many he will take with him and who, if any, can maintain their humanity amidst the horrors he has unleashed.
To say this was an ambitious choice for TYR wouldn’t even begin to cover the complexities of producing this show. Sondheim is known for his incredibly intricate and difficult scores, the staging requires functional set pieces, and the subject matter is dark, troubling, and well beyond the themes that dominate the sphere of usual teen theater. But the summer mainstage at TYR has acquired a reputation for not only tackling the tough shows, but also relishing in the challenge. These teens and their artistic staff were here to do it, and do it right.
In fact, so many kids were up for this challenge that the show is double cast with each group doing three performances, and students simultaneously learning two tracks. It is incredibly interesting to watch both casts perform as individual aspects and traits of characters are accentuated by different actors.
Sweeney Todd is played by Aris Wong and Eli Morse. Wong’s approach leans on the inner conflict and uses physicality to drive the character. Morse also uses physicality, but in a completely different manner. He has this eerie sort of stillness about him that just makes you uncomfortable. It’s as if you can see his inner demons have defeated the better angels of his nature.
Elle Hanlon and Kasia Kim tackle the role of Mrs. Lovett. Both sing it beautifully, and account for many of the laughs. Hanlon features the sharp, clever wit, and scheming nature, while Kim provides glimpses of what could have been by emphasizing Lovett’s connection and tenderness with Toby.
Amelia Forder’s Anthony is one of specificity. Their body awareness and intentionality, along with a pair of the most earnest eyes, give Anthony a fullness to his character. Turner Smith’s version is one of open-faced sincerity combined with soaring vocals.
Adeline Wong’s Johanna is like a trapped bird beating against the cage trying to escape, while Karissa Pate’s version is more resigned to her fate and overcome with sadness.
With 40 actors total in both casts, there were many outstanding performances, far more than there is room to elucidate. Among the other notables is Zoe Bruce as Judge Turpin. She brings the maturity needed for this complicated role. Eddie Dunn is delightfully devilish as Beadle, and I especially enjoyed his songs on the harmonium. Zin Huie Arneson gives Toby a powerful voice and a strong point of view, especially in moments of moral uncertainty.
Colby Tong understands the assignment and brings the flamboyant Pirelli to life with flair. The Beggar Woman could easily be dismissed as a one note character, but Adeline Smith gives her beautiful depth and a soul beyond the madness. The ensemble doesn’t just fill the stage in this show. They are integral to the storytelling and setting the mood. Among a strong ensemble, one can’t help but notice Lilli Caplan and Emma Lemus who pull your eye with their intensity and conviction.
In addition to the great stuff happening on stage, there is even more magic down front in the makeshift pit with five amazing musicians. Tania Johnson and Camden Daly jointly fill the roles of conductor, keyboard, and accordion. Jason Totzke’s violin is a constant note of beauty. And Terry Halvorson is amazing to watch, switching between flute, clarinet, oboe, and bass clarinet. Eric Walton fills out the sound with cello and accordion.
Director Tyler Null makes excellent use of the space, creating all the necessary scenes with minimal movement and set changes. His barber chair receives applause of its own. Musical Director Tania Johnson retains the beauty of the vocal arrangement, and the kids’ power through some very difficult dissonance to resolution. She also puts them through the paces with diction coaching for a very wordy libretto. Additional shoutout to the many teens who comprised the technical crew calling and running a complicated show of lights and sound.
Sweeney Todd is not a show that is often produced, especially by youth theater. It may not be family-friendly for younger kids, and may even be too dark and bleak for many adults. Still, there is something about this story, this music that refuses to fade away. TYR mounts a solid production of this Sondheim classic, and there are three more chances to attend the tale of Sweeney Todd—don’t miss your opportunity.
See Sweeney Todd on Friday, July 18, at 7 p.m., Saturday, July 19, at 7 p.m., or Sunday, July 20, at 2 p.m., at the Academy of Alameda, 401 Pacific Avenue. Tickets may be purchased online until two hours before the show, or at the door.
For more information, visit the Tomorrow Youth Repertory website.
Kelly Rogers Flynt contributes reviews of theatrical productions and feature articles to the Alameda Post. Reach her via [email protected]. Her writing is collected at AlamedaPost.com/Kelly-Rogers-Flynt.
