Sweeney Todd: The Demon Barber of Fleet Street
Reviewed by Nikki Munoz
Young Stars Theatre
Through February 1
RECOMMENDED
A dark, barely lit stage sets the tone for the Young Stars Theatre company’s production of Sweeney Todd: The Demon Barber of Fleet Street. The spare set allows the spotlight to fall on the talented actors and the well-known story. The production, directed by Mirai Booth-Ong, excels and thrills from start to finish.
Sweeney Todd, based on Christopher Bond’s 1973 play of the same name, premiered as a musical in 1979. Featuring music and lyrics by Stephen Sondheim and book by Hugh Wheeler, it has become a musical staple over the years. It follows the titular character (Jack J. Bennet) upon his return to London, where he intends to seek revenge against Judge Turpin (M. Hayward Scott), who had falsely arrested Todd, sent him into exile, raped his wife, and kidnapped his daughter, Johanna (Serenity Robb), to keep as his ward. Sweeney Todd, in turn, becomes a murderous barber whose victims are baked into pies by his partner in crime, Mrs. Lovett (Gloria Bennett).
The entire cast, both major and minor players, is exceptional, both together and individually. The ensemble invokes the chaotic, all-consuming energy of the community Sweeney Todd returns to. Hudson Barone, a promising young actor, is compelling as Tobias Ragg, the curious boy who finds himself too close to Todd’s and Lovett’s secret business. Jack J. Bennett tackles the lead role with rigor and care, invoking empathy even through his cruelest moments.
Yet, it is Gloria Bennett as Mrs. Lovett who steals the show. She is keen in her movements and sharp in her words. She and Jack J. Bennett (real life husband and wife) have palpable chemistry and work off of each other to heighten their own portrayals. But even in their scenes together, it is more often Gloria Bennett whom it is impossible to look away from. On stage she glows larger than life, and her performance is captivating to watch.
The actors work on an essentially bare stage. The lack of set is hardly noticeable, however, as the production’s technical aspects create a liveliness that takes the story to another level. The costumes (Jaclyn Khitikian) are gorgeous and achieve what a set design typically does — communicate the time period and/or the class the characters belong to. The lighting (Sam Phillips) brings a depth of tone to the play, while also providing insight into the complex protagonist. Each time Todd kills or is consumed by dark thoughts, the lighting strikes red — and each time the effect is both rewarding and, somehow, surprising.
These successful elements are all brought together in Booth-Ong’s stunning direction. In her directorial debut, she commands the space with confidence and skill. The stage feels small, given the size of the ensemble, yet also large, given the multiple storylines that converge. Everything is developed with keen intention and pulled off with precision. And in one particularly mesmerizing directorial decision, Booth-Ing combines the art of distraction and spatial perspective to pull off a surprise shift unmatched in creativity and spectacle.
For a production that evolves on a minimalist stage, Young Stars Theatre’s Sweeney Todd is nothing but grand in its result.
Fremont Centre Theatre, 1000 Fremont Ave., South Pasadena; Fri.-Sat., 8 p.m.; Sun., 2 p.m.; through Feb. 1. https://www.fremontcentretheatre.com/. Running time: two hours and 50 minutes with a 15-minute intermission.
