Oy … where to begin with Stephen Sondheim’s SWEENEY TODD?
Let’s begin with what one sees first: the venue. Chopin Theatre opened in 1918 at the Polonia Triangle in Wicker Park. Over 100 years the building has variously housed (among other things) a bank, a thrift shop, and a discotheque. In 1990, Zygmunt and Lela Headd Dyrkacz purchased The Chopin, and restored it to accommodate two remarkable theaters, the Main and the smaller Studio in the basement. For SWEENEY TODD: THE DEMON BARBER OF FLEET STREET the entire theater is part of the set; as you walk down the stairs you descend into 19th century London.
The seating is a motley collection of Victorian divans and chairs, giving the sense of a less-than-opulent home parlor. The seats are placed round a circular stage with a raised octagonal platform at its centre –we later see that the platform revolves. This is one of the many contrivances that Scenic & Lighting Designer G “Max” Maxin IV (h/h) uses to showcase the masterful company. He is assisted by Andrew Lund (h/th, Asst Director), Jakob Abderhalden (h/h; Props & Scenic Décor), Scenic Painter David Geinosky (h/h), Sound Designer Mike Patrick (h/h) and Lynsy Folckomer (sh/h, Sound Engineer).
‘Masterful company’ is a major understatement. The casting used by Kokandy Producing Artistic Director Derek Van Barham (h/h) and Casting Associate Roman Sanchez (h/h) is diverse and inventive, and the ingenious choreography utilizes every inch of the limited space. I already mentioned the carousel stage…. I guess that makes it Theatre in the Round-and-Round, yeah?
From a purely mechanical standpoint, SWEENEY TODD is … I believe the technical term is ‘a real bitch’. Sondheim loves to challenge actors with his complex music and lyrics; the ensemble of eight roars out countless alliterative tongue-twisters – rapidly, at maximum volume, and in unison. Getting this right ain’t easy, but it’s delivered flawlessly by the ensemble: Joel Arreola, Brittney Brown, Ethan Carlson, Stephanie Chiodraws, Christopher Johnson, Nikki Krzebiot, Daniel Rausch, and understudy Nathan Kabara (stepping in for Charlie Mann).
The show begins with a welcome and a warning from Quinn Rigg who, with a swoosh of his cloak (costumer Rachel Sypniewski (s/h) uses cloaks very effectively) transforms into Adolfo Pirell, pivoting and whirling through a terrific performance. Kevin Webb and Caitlin Jackson star as Sweeney Todd and Mrs. Lovett. Both give truly outstanding performances as partners in clipping and culinary crime. Jackson has a miraculous voice, as do Isabel Cecilia Garcia (Beggar Woman) and Ryan Stajmiger (Anthony Hope). Christopher Johnson is Judge Turpin, Josiah Haugen plays Beadle Bamford, and I want to give a special shoutout to Patrick O’Keefe, who plays Tobias Ragg with frolicsome charisma [two words I don’t often use together]. His voice soars in “Not While I’m Around”.
The intensity and vitality of this production is stunning. I was exhausted at the end, and I never left my seat! while the players danced, leapt, capered and whirled continuously, belting out rapid and complex lyrics, all in perfect time with a dozen castmates. Just incredible.
Sydney Genco (sh/h) designed splendidly macabre makeup; Keith Ryan (h/h) matched her sinister mastery with his wigs. Scot Kokandy (h/h) is Executive Producer, Assisted by Erik Strebig (th/th). Nick Sula is Music Director, with Vivica Powell (sh/h) as Assistant Choreographer; Intimacy Choreographer is Kirsten Balty (th/th) and, because it’s TODD SWEENEY, we need Jon Beal (h/h) as Violence Director. Stage Manager is Drew Donnelly (h/h), with Assistant Kendyl Meyer (th/th).
Stephen Sondheim created SWEENEY TODD (music and lyrics; book by Hugh Wheeler) in 1976 as a musical play. But beware! this is not “My Fair Lady”! Prepare to be disturbed, as SWEENEY TODD delves the nether portions of civilization [sorry, I can’t help it – SWEENEY TODD evokes melodramatic phrases like this!].
The character of Sweeney Todd originated in 1846 as a villain in the penny dreadful serial “The String of Pearls.” In Sondheim’s play, Todd is driven mad by venal and lascivious Judge Turpin’s sentence. His lunacy is re-channeled by Mrs. Lovett (maker of The Worst Pies in London), but she can’t alter the course of his mania. His obsession for revenge is levied on London’s greedy populace; still, Todd can’t find atonement while his foe yet lives.
SWEENEY TODD is germane to both Yom Kippur and Halloween, but it is not a holiday celebration! I left the theater stunned and deeply troubled, with at least Six of the Seven Deadly Sins roiling in my head.
My turmoil is offset, however, by my appreciation of a magnificent piece of musical theater, brilliantly produced and superbly played by a cast whose acting ability is matched only by their musical genius.
OK, time to give my thesaurus a rest … go see SWEENEY TODD, THE DEMON BARBER OF FLEET STREET, and we’ll see how you fare with the superlatives.
HIGHLY RECOMMENDED
*Extended through December 18th
