Open Stage’s rendition of the wickedly hysterical tragicomedy, “Sweeney Todd: The Demon Barber of Fleet Street,” is peppered with darkly comedic spots, infused with intense suspense, and splashed with just a little taste of gristly gore.
Directed by Stuart Landon and Music Director Nicholas Werner, Open Stage adheres to their Season 38 theme, “Out of the Darkness,” to deliver the classic, multiple award-winning, oft-adapted, horror musical featuring victim-cum-villain Sweeney Todd (Brad Barkdoll). The penny dreadful tale is told mostly through operatic song in a dismal, Victorian-era setting, appropriately reminiscent of the inside of a slaughterhouse.
Barkdoll plays Sweeney Todd as a misunderstood murderer, a sort of vulnerable anti-hero ruffian. Singing about his bloodthirsty need for revenge, he takes on his character’s crazy eyes, under a homicidal trance. When he lunged toward the audience and swung his razor, I felt unsafe for an instant, until I remembered that I’m at the theater and it’s all just pretend. But in that moment, I recoiled and wished for a seat just a little farther back. Barkdoll is scary good, with vocals most impressive when he’s singing tongue twisters in “The Barber and His Wife” and “Epiphany,” and in his duets with Mrs. Lovett (Rachel Landon).
As Sweeney Todd’s literal partner in crime, Landon serves up a warm, funny baker with deliciously sinister undertones. Barkdoll and Landon show evident chemistry, especially during the hilarious and rollicking, “A Little Priest,” as the pair drink to their evil arrangement, and while singing to Sweeney Todd’s razor during the creepy ballad, “My Friends.” Landon adds a dash of humor to her solo, “The Worst Pies in London,” and a pinch of nurturing during “Wait.” Extra points to Landon for not missing a beat while handling kitchen props, especially her knife-tossing skills.
Slathering her maternal nature like butter on a crust, Landon sings a beautiful duet with orphan Tobias Ragg (Gabrielle Dina) in “Not While I’m Around.” Playing a cute and plucky boy, Dina’s chirpy voice rings out during the irresistible sales pitch, “Pirelli’s Miracle Elixir.”
Playing Sweeney Todd’s long-lost daughter, Johanna, Jasmine Graham hits those impossibly high notes perched several lines above a five-line staff on sheet music. In Graham’s solo, “Green Finch and Linnet Bird,” when her voice combines with Werner’s piano, it sounds like someone left an old-fashioned music box open on a forgotten dresser. Together with her suitor, Anthony Hope (Tyler Shadle), their voices mesh well together in that pleasant, unjaded, easy-on-the-ears way that young love does, especially during their duet, “Kiss Me.”
Also remarkably hitting and sustaining high notes typically outside the traditional range: TJ Creedon and Josh Dorsheimer. Further, both actors bring to life farcically comical characters (Pirelli and Beadle, respectively) who make the audience laugh out loud.
Marinated in an outpouring of talent, the entire cast blends together solid, skilled vocalists and musicians, with standout songs, “God, That’s Good!” perfectly setting the mood, and “The Ballad of Sweeney Todd” dramatically sandwiching the musical score.
If you and your guests (over 17 years old recommended) happen to visit the snack bar at intermission, be careful what you order. Although there is no audience participation, best to check for missing audience members, just in case. And if you find something tasty, may you enjoy it as much as the ensemble cast shamelessly enjoyed Mrs. Lovett’s succulent meat pies.
“Sweeney Todd: The Demon Barber of Fleet Street” will run February 24 through March 16 at Open Stage, 25 Court Street, Harrisburg. For more information, check their website at https://www.openstagehbg.com/show/sweeney.
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