Young love, jealousy, revenge, and the worst pies in London set the stage for Opera Omaha's latest production, Sweeney Todd: The Demon Barber of Fleet Street. Sweeney Todd first opened on Broadway in 1979 and features a score written by the incomparable Stephen Sondheim, with a book by Hugh Wheeler. Since first making a splash on Broadway it has spawned numerous revivals, won multiple awards including a Tony Award for Best Musical, and even had a bloody good time on the big screen in a movie musical adaptation starring Johnny Depp as the man behind the razor. At times referred to as Sondheim's opera, the score effortlessly bridges the gap between standard classical Broadway musical and opera material, and it's easy to understand why it would be sought out by opera companies around the world.
Director Susan Clement assembled a wonderful cast who weave on and off stage with ease and purpose, always keeping the story flowing. Her direction is clean and intentional, which allows both group numbers and intimate moments to feel grounded and thrilling to watch. There are no throwaway moments or movements. The lights, comprised of mostly warm red contrasting with bright blue, are striking against the costumes and help create an atmosphere of almost good vs evil. The infamous barber chair is flown in and out with the usage of wire, hooks, and the assistance of 2 costumed crew members. And featuring a minimal set of just a few large moving pieces and a couple smaller pieces flown in when required, the production rests heavily on the performances given, and this cast is up to the challenge. With the exception of a few line flubs here or there, this cast of talented artists brilliantly bring to life the tragic tale of Sweeney Todd.
Zachary James brings to life the title character with ease and precision. His Todd reads younger, but his presence is commanding. You feel his anger and heartbreak, and his vocals are simultaneously soothing and thrilling. Emily Pulley garners many laughs as the amicable Mrs Lovett. Her voice is rich and her comedic timing is admirable. She portrays a more subdued and grounded Mrs Lovett than I've previously experienced, and I enjoyed the contrast. Katy Lindhart portrays the beggar woman who weaves in and out of the ensemble and whose voice was one of my favorites of the evening. Ashley Emerson and Jonathan Johnson, who play Joanna Barker and Anthony Hope respectively, are delightful as the love torn couple, desperate to get to one another. Emerson's vocals are exceptional and a joy to listen to, and her Johanna is sweet and believable. Hope's Jonathan reads older than those in most musical theater productions of Sweeney Todd, but his vocals are sublime. While his voice rests much lower than anticipated, his range makes it clear why he was chosen to bring Opera Omaha's Jonathan to life. Another brilliant performance is given by Michael Kuhn as Tobias Ragg, whose number "Not While I'm Around" was one of my favorites of the evening.
As seems to be the case with most of the productions housed at the beautiful Orpheum Theater in downtown Omaha, I struggled to hear the music almost throughout the performance, particularly the vocals. Fortunately, there are captions available for all songs, as is standard for opera productions, but it felt a shame to miss some of the beautiful vocals being delivered by the artists. Even group numbers felt muted.
Something important to note is that movement in and out of the theater during the performance is not allowed, so choose your bathroom breaks wisely. Luckily the company does offer folding chairs and a video to watch in the lobby if you happen to find yourself outside the theater during either act. But do yourself a favor and plan accordingly.
Sweeney Todd will have its final performance Sunday, February 27 at 2 PM. If you have an opportunity to see this brilliant production, I highly suggest an afternoon with the barber and company. Two razors high in the air for the cast and creative team.
Photo Credit: Opera Omaha - Tom Grady
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