THINK TWICE: Should you attend the tale of “Sweeney Todd”?
Signature Theatre’s 2022/23 season has been a year-long tribute to the musical theatre titan, Stephen Sondheim. Fittingly, they have chosen to close the season with what I consider his magnum opus (which some will disagree with; Sunday in the Park with George has a fervent following). In my UnProfessional Opinion, Sweeney Todd is an exceptionally excellent masterpiece. The plot is riveting; the characters are vividly bold; the music and lyrics are incredibly witty, sinister, and moving. It is a compelling artistic playground, with the highest level of conflict fueling and enriching every single moment.
There is no theatre in the DC region better equipped to deliver an outstanding production of Sondheim’s work than Signature. Ever since I purchased my ticket, I have waited impatiently, especially after seeing their magnificent production of Passing Strange.
It gives me no pleasure to report that Signature Theatre’s Sweeney Todd is disappointingly weak and unsophisticated. Aside from a few wonderful performances, the production suffers from visionless direction, misguided design choices, and painfully meager acting.
Let’s set the scene: After fifteen years’ imprisonment, the unjustly exiled barber Sweeney Todd (Nathaniel Stampley), returns to London to seek revenge on the men who framed him: Judge Turpin (John Leslie Wolfe) and his beadle (Christopher Michael Richardson). With the help of local pie shop owner Mrs. Lovett (Bryonha Marie), Sweeney reopens his barbershop in hopes of luring his victims with the closest shave in town — one that is simply to die for.
One of the reasons why this review is not a SKIP IT is because the material itself is resilient enough to shine through poor choices. Led by director Sarna Lapine (niece of longtime Sondheim collaborator James Lapine), the production has almost no thematic grasp on the story, and its lack of vision undercuts the compelling essence of this “musical thriller”. If the stage manager were to call “hold” from the god mic, stopping the actors, the energy in the theatre would barely dip because the storytelling has no pulse of intensity, urgency, desperation, or peril — the most delicious parameters to play within.
The musical is both compellingly intense and robustly comedic, and the production abandons exploring those qualities. From start to finish, choices were made that were illogical, unmotivated, mind-numbingly literal, or worse, no choices were made. While I have many issues with the acting, it falls onto the director to create and shape the moments. For example, Johanna’s gorgeous song “Green Finch and Linnet Bird” seemed more about the literal birdcages onstage than examining Johanna’s plight. (In case we did not understand the song’s metaphor, the production drives it home by slowlyyy lowering a massive birdcage over Johanna later on.) And then there are directorial choices made that make me question the production’s understanding of the storytelling of scenes. For example, Tobias (Harrison Smith) is working the crowd trying to sell “Perilli’s miracle elixir” for hair growth, and he talks about how he was bald before using it, and then reveals his newly-grown hair. When he removes his hat, the reveal has no impact because the production has given Tobias a massive mess of a wig that is not hidden at all during the number. I know that is a small moment, but it’s also an easy moment that they somehow messed up. In the production’s wasteland of storytelling choices, the ones it does make are eye-rollingly egregious.
Further hindering the production are a series of ill-considered design choices. First, I will not say that Sweeney Todd must have a two-story set, because I think Mikiko Suzuki MacAdams’ single level design could have worked with more dynamic staging. (Technically, they did build a two-story set, putting the orchestra on top.) The streamlined, fluid incorporation of set pieces, such as the pie shop counter, the multipurpose meat hooks, and the streetlamp, worked quite well. But, while I’m not a stickler about 19th century historical accuracy, I could not suspend my disbelief over the use of plastic tarps. This anachronism creatively and visually cheapened the moments, further exacerbated by the underwhelming, non-liquid design for the blood effects (which could have been more impactful if performed better). Robert Perdziola’s costume design was sharp, particularly with the flamboyant Perilli and Mrs. Lovett’s rags-to-riches fashion journey. But then there were aprons with printed-on cartoony bloodstains that looked like a Spirit Halloween purchase. Overall, this production seems to be in a constant loop of taking one step forward and two steps back.
Unfortunately, the straw that broke the camel’s back was Nathaniel Stampley’s performance as the titular Sweeney Todd. Although a great singer, his characterization was unwaveringly one-note. There was nothing vicious, intimidating, or desperate about this man fighting to restore his family and take revenge on those that wronged him. I think Sweeney’s footsteps should singe the stage as he stalks his prey, with a fury burning within him that can barely be contained, but Stampley just came off as casually brooding. His performance did not incorporate the descriptions of Sweeney found in the show’s very first song. Had he found more nuances and variety in his performance, leaning further into the intensity and the comedic, the storytelling onstage would have been more substantially motivated.
For the most part, I was satisfied with much of the cast. Bryonha Marie had a delightful charm as Mrs. Lovett. While “The Worst Pies in London” lacked a comedic punch, Marie shined in “By The Sea”. Paul Scanlan portrayed a very sincere Anthony, endowing his solo “Johanna” with authentic yearning. Katie Mariko Murray’s Johanna was compellingly passionate and vulnerable. Harrison Smith excelled as Tobias, wonderfully capturing his earnestness and anxiety, particularly in the well-acted, highly motivated “Not While I’m Around.” As Judge Turpin, John Leslie Wolfe was incredibly commanding and found great humanity as the show’s villain. In the difficult role of the beggar woman, Rayanne Gonzales had impressive variety, skillfully shifting from saucy and brash to desperate and woeful.
Due to the supporting nature of these two roles, I was not expecting them to be the production standouts, but I was deeply impressed with Christopher Michael Richardson’s Beadle and Ian McEuen’s Perilli. Both delivered the vivid playfulness and malicious inner life that I was hungry for. As the Beadle, Richardson developed a fantastic physical vocabulary in his movement, reeking of self-righteousness. In every smile or hilarious flourish, a sinister air remained at all times, keeping the audience hooked for what happened next. As Perilli, McEuen animated every single moment with fiery nuance. Behind his menacingly broad, Cheshire cat smile, we could see his blood was boiling. I was mesmerized by his luscious vibrato and wonderfully embellished vocality, and I could have watched his character for hours.
For those experiencing this musical for the first time, I am sure they will enjoy it because the material is fantastic. For lovers of Sweeney Todd, or those that have seen it before, this production comes off a bit underwhelming in concept, direction, and performance. Maybe I am too much of a snob — you all will have to let me know. So if you are thinking about attending this tale, it is my UnProfessional Opinion that you THINK TWICE about Signature Theatre’s Sweeney Todd.
Sweeney Todd: The Demon Barber of Fleet Street
Music and lyrics by Stephen Sondheim; Book by Hugh Wheeler
Directed by Sarna Lapine
Signature Theatre
May 16 — July 9, 2023
