author: Jake Schwartz
Anyone need a shave? Why not come on down to Fleet Street? Or even better – why not come down to Rockville Musical Theatre’s production of Sweeney Todd: The Demon Barber of Fleet Street.
We need to start by saying Director Karen Fleming does a PHENOMENAL job with this production. The show was a well-oiled machine, and while the run time was nearly 3 hours: it didn’t feel that way at all. Fleming created a thrilling experience that will have you on the edge of your seat.
It can’t be understated how fantastic the music in this show sounds. And not just the flawless singing, Vocally Directed remarkably by Keith Edward. The live pit of 20 musicians, conducted beautifully by Stuart Weich was tight, well-balanced, and they took on one of the toughest musical theater scores and more than did it justice. Weich and the pit were a complete unit, adapting and working together to make a beautiful and memorable sound.
The Choreography by Rikki Howie Lacewell was seamlessly interwoven into the show. A standout choreography number was definitely “God, That’s Good.” However, there were a few moments, particularly in the opening number where some of the choreographed moments seemed a little out of place. The fluidity of the motions clashed with the sharpness and rigidity of the music, which took me out of the number for a moment.
Lighting by Stephen Deming was wonderfully used to convey emotion and tone throughout the production, its sudden bursts during “Epiphany” were jaw-dropping paired with Sweeney’s emotional outburst. The only small lighting hiccup were a few times in the downstage left spotlight; some actors weren’t being lit – however it was never distracting or took me out of the performance at all.
Costume Designer Linda Swann deserves a special shoutout – because wow those were Broadway-level costumes. Two personal favorites were Pirelli and Turpin’s respective attire. Director Karen Fleming also doubles as Makeup Designer, which works wonderfully with Swann’s costumes. I also wanted to spotlight the Dialect Coach Gary Sullivan, as the dialect work from the very beginning of the show to the end is flawless.
A show made up of almost entirely singing is no easy task, and they need a strong ensemble in order to make it happen. This ensemble really laid the foundation that the musical needs to succeed beautifully. The harmonies were crisp, the storytelling was natural; that ensemble deserves huge praise. From the ensemble I want to spotlight the performances of Lee Ann Boyd, Bob Bryant, Xaria Douglas, and Maggie Watts for their vocal abilities and interactions throughout the show.
Introduced as a potential rival to Sweeney, Noah Beye plays Adolfo Pirelli excellently. He is hilarious in his delivery and characterization, but you can’t overlook his exceptional vocals. Beye’s performance was so great, you can’t help but wish the show had a bit more Pirelli. And you can’t forget about his apprentice Tobias, played by Elijah Beeler. Beeler not only brings the comedy of the role, exceptional vocals, and quite a bit of heart – especially in his duet with Mrs. Lovett “Not While I’m Around”
A real standout in this production for me was Beadle Bamford, played masterfully by Timothy Ziese. Ziese oozes charisma, and his vocals throughout the show are amazing. Shoutout to his high register in “Ladies in Their Sensitivities.”
Villainous, scary, and downright creepy: Kenneth Darby brings to life Judge Turpin in a downright haunting mentor. Turpin’s rendition of Johanna was terrifyingly beautiful, but it was also nice to see his lighter side in “Pretty Women.”
The object of so many people’s affection: Johanna is brought to life by Hannah Siegel. Siegel not only masterfully navigates Johanna’s incredibly difficult music, but she manages to embody Johanna’s youthful innocence and excitement at the same time. An extremely difficult task that Siegel makes seem effortless. And as everyone’s favorite yellow-haired-loving, bell ringing, love struck sailor – Zac Brightbill gives a masterclass in playing Anthony. His rendition of “Johanna” was beautiful, with incredible tone, intonation, and breath control. Between Siegel and Brightbill’s stage chemistry, blend, and ability to play off each other – those two are a gold standard of how Anthony and Johanna should be.
I wouldn’t trust her to make me a pie, but I would trust Iris Dewitt to play an incredible and memorable Mrs. Lovett. Her vocals were amazing, I’d like to specifically highlight “Wait” and “By the Sea” as some standout vocal moments for her. However, the big thing I noticed about Dewitt’s performance was how incredible her storytelling ability was. Every one of her songs was a journey that she guided you through, it was engaging, captivating, and truly an incredible performance.
And now, for the man who’s tale we’re attending: Ryan Power gives the performance of a lifetime as Sweeney Todd. I am not exaggerating when I say Power was born to play this role. The way Power had the audience in the palm of his hand, especially during “Epiphany.” His portrayal of a man who’s lost everything and is hellbent on revenge is palpable, and riveting; entertaining and scaring the audience all at the same time. Vocally, Power excelled in all aspects, “My Friends” was chilling, “A Little Priest” was captivating, and “No Place Like London” was powerful! Pun absolutely intended. Power’s performance was truly worth the cost of admission all on its own.
Attend the tale of Sweeney Todd! No seriously. Attend the tale at Rockville Musical Theatre, playing November 2nd – 17th. This is a marvelous and unforgettable show, and you don’t want to miss it.
Running Time: 2 hours and 45 minutes with one intermission
Sweeney Todd: The Demon Barber of Fleet Street plays through November 17th 2024 with Rockville Musical Theatre at F. Scott Fitzgerald Theatre in the Rockville Civic Center Park— 603 Edmonston Drive in Rockville, MD. Tickets are available by calling the box office at 240-314-8690 or purchasing them in advance online.
