UK Theatre Network

The Queen’s Theatre Hornchurch

Chris Bond, writer of Sweeney Todd, The Demon Barber of Fleet Street, the play that inspired Stephen Sondheim’s musical, directs the play for the first time at the Queen’s Theatre Hornchurch.

After the success of Tim Burton’s film, I was expecting an all singing all dancing spectacular, and was more than pleasantly surprised as the experience proved to be quite different. Not a song in earshot. 

Originally a character from a Thomas Peckett Prest serial “The String of Pearls”, based on a French story about a Murderous barber, Sweeney Todd appeared in Victorian penny dreadful newspapers and was later dramatised by George Dibdin Pitt in the form of a melodrama. Chris Bond developed the character of Sweeney Todd, giving him a reason other than money to embark on his murdering spree.

Benjamin Barker the barber (Shaun Hennessy) is arrested and sent to an Australian prison on false charges by the corrupt Judge Turpin (Stuart Organ), who is determined to take his wife, Lucy (Lindsay Ashworth) away from him. After sending Barker away, Judge Turpin subjects Lucy to violence and rape. It is rumoured thereafter (mainly by Mrs Lovett) that Lucy gives poison to their baby daughter, then takes her own life. The daughter, Johanna (Lucy Thackeray) survives. Years later Barker returns, renaming himself Sweeney Todd and after learning the fate of his wife and daughter, who is now a ward of Judge Turpin, he concocts a horrific revenge plot. Resuming his place in the Barbershop, above the excitable Mrs Lovett who vies for his love and attention, they form a terrifyingly calm and seemingly normal partnership.

The atmosphere is strikingly created by Mark Walters' dark visions of Victorian London and scenery that slides with ease between the crooked houses of the dull streets to the upstairs, downstairs view of Todd’s barber shop and Mrs Lovett’s pie shop. The subtle lighting casts sinister shadows onto the cellar where you can almost smell the bloody stench that rises in a fog from down below. Todd tilts his victims cleverly from his barber chair down a chute into the underground graveyard. But the most captivating effect of this production has to be Carol Sloman’s violin. She stands as an onlooker, subtly reacting to her surroundings as she plays chilling music during the eeriest moments. She is joined in turn by many of the characters on the piano, forming an excellent accompaniment and sound effects.

Gregor Henderson-Begg injects an element of pantomime as Tobias Ragg, the unwitting, high-strung orphan who bursts with infectious energy onto the stage as the con man, Adolfo Pirelli’s assistant, entertaining the audience with his well-choreographed clumsiness. After Pirelli’s sudden disappearance- he recognises Todd and tries to blackmail him- Tobias becomes Mrs Lovett’s assistant, always grateful for one of her gorgeous pies as payment for selling them.

Diana Croft’s Mrs Lovett is an endearing, thigh slapping good old cockney character in spite of her stomach-churning plan to use Todd’s victims as pie fillings. It really is hard to dislike these characters, I felt the need to be more appalled by the subdued Todd (Shaun Hennessy), but as he sliced his way through the throats of the men responsible for his misery, arcs of blood pumping into the air, I found myself siding with the audience, who clapped and cheered him, delighted with his performance.

Stuart Organ's performance as Judge Turpin is disturbing, as he foams at the mouth, whipping himself in disgust at his own actions, although ultimately failing to repent, intent on taking Johanna as his wife. You almost want to watch this with one eye covered. He mainly appears with his ally, Beadle (Julian Littman) who corroborates in his corruption.

Lindsay Ashworth is the beggar woman who passes through the streets almost ignored but is a heartbreakingly solitary figure at the piano; she most definitely hides a deep sorrow under her rags.

Simon Jessop’s Italian accent is as comically unconvincing but likeable as the con man Alfredo Pirelli himself.

Lucy Thackeray gives Johanna wide-eyed innocence as she flirts with the affable Anthony Hope (Sam Kordbaceh). Their story finishes as the only happy one.

The play stays true to its melodramatic form as it reaches its conclusion.  More killings take place, just at the point where you think there can be no one else to kill.  The poor Tobias discovers the true secrets to Mrs Lovett's recipes, appearing from the depths of the cellar, crazed and confused. Sweeney Todd learns the truth about his wife's life and Mrs Lovett's lies.


Cut to the Chase, The Queen’s Theatre’s resident company of actor-musicians demonstrate a passion and adaptability to slide in and out of a number of characters in this fun performance.

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6 – 28 March

Sweeney Todd: The Demon Barber of Fleet Street

By Chris Bond

 

 

Previews: Fri 6 Mar and Sat 7 Mar at 8pm

First Night: Mon 9 Mar at 7.30pm

Performances: Tue – Sat at 8pm

Captioned Performance: Wed 18 Mar at 8pm

Matinees: Thurs 19 Mar and Sat 28 Mar at 2.30pm

Signed Performance: Wed 25 Mar at 8pm

Audio Described: Sat 28 Mar at 2.30pm

 

The Queen’s Theatre, Billet Lane, Hornchurch RM11 1QT

Tube: Hornchurch

Tickets: £13.50 - £22

Box Office: 01708 443333

Website: www.queens-theatre.co.uk