Sweeney Todd *****

Photo: Tristram Kenton

         Let’s not beat about the bush: Sweeney Todd is the best thing in the West End right now. I had unknowingly formed a lot of preconceptions about this musical from Tim Burton’s film adaptation which I’ve now lost after seeing how it should be done. Not that I don't love Burton's film, but a lot of laughter is lost from the glorious stage version. Anthony Ward’s design is definitely Burton-esque, this is because director Jonathan Kent has updated Sweeney to the 30’s, against an industrial backdrop. Kent’s production is sophisticated, with a visual language accompanying the libretto, that’s almost Brechtian.

                It even toes upon Brecht’s Marxist themes; a whistle blows – rather, the whistle is blown – most times that Sweeney takes a victim, or alternatively, delivers produce to Mrs Lovett. Sweeney Todd seeks revenge upon Judge Turpin, who transported him to Australia years ago under false charges, and then raped his wife and adopted his daughter in his absence. But his barber's bloodlust soon turns upon the rest of humanity to the benefaction of Mrs Lovett's pie shop. Sweeney turns upon the audience, razor in hand and sings ‘we all deserve to die’ - and looking at the production values, and the manner in which we empathise with a serial killer, over a corrupt judge, I can’t help but wonder if Kent means it.

                The ensemble lingers at the top of the stage, peering through fractured windows into the tale of Sweeney Todd -but not learning from it. They scale to banshee like top notes that shake your insides. Their refrain has a scaremongering quality about it, which working with Sondheim’s humour; holds the audience on edge. Sondheim's wit cuts through the intense scenes like a blunt knife. Imelda Staunton steals the show, revitalising the role of Mrs Lovett. She has the audience in the palm of her hand. Michael Ball – better known for his charm than his menace – also astounds, his sonorous voice both occupying the vulnerability and insanity in the character of Sweeney. They are supported immensely by an immense cast, including Peter Polycarpou and John Bowe, the Beadle and Judge Turpin; as immoral pillars of the law. Polycarpou plays the harmonium with gusto to say the least, playing off Staunton in an impossibly tense and hilarious penultimate scene.

                In parallel, Lucy May Barker and Luke Brady drift upon the sweet tones of young lovers, naïve to the world around them. Without this couple, Sweeney wouldn’t be quite so bitterly moving. Indeed, I didn’t expect a show like Sweeney to move me on quite so many levels. Their duet has a touch of Bernstein’s ‘Tonight’, moving their star crossed love adamantly through the story; contrasting with the fluctuating morals and ceaselessly paced primary plotline.The laughter and tears rest upon the knife’s edge of dramatic irony, to the extent that the interplay between characters and chorus echoes the form of a Greek Tragedy.

                Kent’s production speaks to you more than the average musical might do. But of course, Sweeney Todd isn’t average; with this stellar cast and Sondheim’s score, Kent didn’t have to do much to make this show spectacular and yet he’s achieved this and so much more. If you see anything this year, attend the tale of Sweeney Todd.