Melbourne Reviews

One of the big appeals of Sweeney Todd, the Demon Barber of Fleet Street for a theatre lover is its theatricality. You expect darkness and drama – and Victorian Opera’s production led by Director Stuart Maunder succeeds in delivering this.

Impactful performances combined with artful costume, set and lighting design meant the moments of darkness and horror were done just as well as the moments of brilliant dark comedy.

It was an impressive feat of staging, with multiple on-stage deaths by different means, mock shavings and a chair that opened to eject its victims through the floor, all done well.

Ben Mingay delivered a captivating performance as Sweeney Todd, with an engaging presence and rich, mesmerising baritone vocals. He remained grounded throughout, but also delivered on the more theatrical and (slightly) lighter moments when needed. A particular highlight of the show was his goosebump-inducing performance in ‘Epiphany.’

Antoinette Halloran as Mrs Lovett matched Mingay perfectly, with impressive presence, physicality and charm. Both Mrs Lovett and Sweeney Todd are characters that have been done many times, which lends extra credit to Mingay and Halloran’s solid and nuanced performances.

Adrian Tamburini gave a powerful and deeply disturbing performance as Judge Turpin, which helped to heighten audience investment in his downfall. Kanen Breen as the Beadle was a terrific sidekick, who you equally disliked for his obsequiousness and appreciated for his comedic moments, especially during Parlor Song.

Mat Verevis gave an endearing and moving performance as Tobias Ragg, who was well paired next to the insincere and extravagant Adolfo Pirelli, played by Euan Fistrovic Doidge.

Sondheim’s emotive music was adeptly performed by the Victorian Opera Chamber Orchestra, led by Conductor Phoebe Briggs. ‘The Ballad of Sweeney Todd’ was undoubtedly a show highlight, as was ‘Johanna’ with beautiful dual singing from Mingay and Lachlann Lawton (Anthony). Musically it delivered all the drama and foreboding you’d expect from Sweeney Todd, but there were also some unexpected vocal choices that added to the production, including from Trubiano and Halloran.

Victorian Opera’s production of Sweeney Todd delivered on the theatricality – but what it also did well is include elements of realism when it mattered. This allows audiences to emotionally connect with the production as well as appreciate the drama of it. It also creates space to invite audience reflection on some of the questions the show poses, such as around the price of revenge, morality and justice.