Review: RLT offers sharp production of ‘Sweeney Todd’

Raleigh Little Theatre’s impressive production of “Sweeney Todd” gets the atmosphere, character and musicality so right that occasional indications of stretching resources to their limits can be easily overlooked.

Stephen Sondheim’s 1979 Broadway musical about betrayal and revenge in mid-19th century London is one of his most popular works, but also one of his most difficult to produce. The score’s angular vocal lines, dense harmonies and tricky syncopations challenge performers in this mostly sung-through piece. The grisly plot, in which a barber determines to avenge himself on the corrupt judge who unfairly sent him to prison, challenges the audience to care for obsessed characters.

Director Patrick Torres deserves credit for making the whole enterprise so even in tone. From the first ghostly narration by the ensemble, sung in stark shadows on a fog-filled, grimy streetscape, the production maintains a tone of dread and doom, brightened occasionally by gallows humor and the possibility that love might conquer all.

Any successful “Sweeney Todd” production falls to its two leads and here it is in the firmest of hands. David Henderson fills Sweeney with frightening single-mindedness but also reveals the tender man he was before his life was shattered. Henderson confidently conquers the treacherous vocals, applying emphasis to his well-articulated lyrics. As his partner-in-crime, the pie-making Mrs. Lovett, Rose Higgins adds dozens of clever moments to her hilarious portrayal of the ever-conniving businesswoman and amorous predator. Their bravura duet ending act one is the show’s highlight.

Brian Westbrook’s obsequious, weasel-like Beadle gets consistent laughs and astounds with his high-flying tenor. Areon Mobasher’s trickster Pirelli is likewise impressive in stratospheric notes and fatuous pomposity. They are joined by fine portrayals from Joel Rainey as the self-important, maniacal Judge Turpin and Jess Barbour as the bewildered, bedraggled Beggar Woman.

Edward Freeman’s Anthony, smitten with Sweeney’s daughter Johanna, sings strongly and conveys his love-struck mindset well, if sometimes too boisterously. Sondheim’s fiendish music for Johanna challenges Rachel Pottern but she finds the character’s inner defiance. As the simple Tobias, Ben Pluska is sympathetic but needs more confidence in portraying him.

Vicki Olson’s costuming adds a wonderful Dickensian feel, as does Cailen Waddell’s gloom-laden lighting. Miyuki Su’s stage-filling set has appropriate period atmosphere but sightlines are often blocked by platform heights and angles. Music director Julie Florin tackles the score with experienced assurance but, with just piano and strings, the music often sounds thinner than it would ideally.

Some may find the material too disturbing, and it’s not for youngsters, but this production makes a fine case for labeling the show a masterpiece.

This story was originally published February 16, 2016 at 7:27 AM with the headline "Review: RLT offers sharp production of ‘Sweeney Todd’."