Stephen Sondheim’s Sweeney Todd, the Demon Barber of Fleet Street opened on Broadway in 1979, and was nominated for nine Tony Awards, including Best Musical. Since then, it has been revived numerous times across the world and also turned into a film. The acclaimed musical is undoubtedly one of Sondheim’s most notable works.

Sweeney Todd is, at its most basic level, a story of revenge: after fifteen years of exile in Australia for a crime he did not commit, a barber named Benjamin Barker returns to London under the name Sweeney Todd only to find that his wife is gone and his daughter is in the care of the man who exiled him. He sets out to take his revenge on those who have wronged him, with the assistance of Mrs. Lovett, a widow with a struggling pie business who turns his murderous ways to her advantage.

Robin Dreher had his hands full with the brooding, revenge-crazed Sweeney Todd, but proved to be a formidable actor and vocalist in songs ranging from the reminiscent “Johanna” to the bitter “The Barber and His Wife.” He was able to create a range of emotions for Sweeney, allowing the audience to follow his journey from sorrow to revenge to eventual insanity. Anna Snapp stole the show as Mrs. Lovett, whose infatuation with Sweeney Todd led her to participate in his less-than-moral schemes. Snapp exuded enthusiasm and confidence throughout rousing musical numbers such as “A Little Priest,” but was able to reach inside to find the motherly touch needed for “Not While I’m Around” (a duet with Tyler Fultz as Tobias).

The entire cast shone in “The Ballad of Sweeney Todd,” an oft-reprised musical number that showcased the talent and cohesiveness of Montgomery Blair’s ensemble. Many actors had difficulty maintaining British accents, especially while singing, but Adam Carey provided a consistent, confident performance as Judge Turpin, showing off impressive vocals in songs such as “Pretty Women” (his duet with Dreher). Also enjoyable to watch was Russell Ottalini as famed Italian barber, Adolfo Pirelli; Ottalini transitioned flawlessly from an Italian to Irish accent after Pirelli’s unmasking as Danny O’Higgins.

The orchestra deftly transitioned between some of Sondheim’s most difficult music but sometimes overpowered the actors. In addition, problems with the microphones also contributed to difficulty in understanding some cast members. Although spotlights were sometimes harsh and abrupt, lighting was usually well-suited for the sinister mood of the show.

The set (designed by Joseph Rosen) epitomized the dank and dirty streets of industrial London. Sweeney Todd’s barber shop, which received an appreciative gasp from the audience upon its arrival onstage, revolved to show Mrs. Lovett’s parlor and the back alley. The combination of the inventive, multipurpose sets and the costumed stage crew (responsible for set changes as well as working Sweeney’s infamous barber chair) allowed for quick scene changes.

Complete with breathtaking sets, powerful vocals, and a couple dozen meat pies, Montgomery Blair presented a truly chilling rendition of Sondheim’s masterful Sweeney Todd, The Demon Barber of Fleet Street.

by Elisabeth Bloxam of Westfield High School

This 1991 Disney film was adapted into a stage show with added songs and scenes. The new musical ran on Broadway for 13 years until closing in 2007. The show depicts the story of a brilliant, misunderstood girl, Belle (Mindy Or), who is forced to live with an angry Beast (Christoff Visscher) who is a unfortunate man put under a spell to forever be a Beast until he finds true love. While in his castle, Belle meets many eccentric talking appliances, such as Lumiere (Russell Ottalini), a candle, Mrs. Potts (Francesca Blume), a teapot, and Cogsworth (Adam Jackson), a clock.

The talent of a large ensemble anchored Blair’s production. Energy was consistent and ran throughout the entire production, making the show enjoyable and entertaining.

Belle (Mindy Or) and the Beast (Christoff Visscher) worked well together, showing their chemistry in much anticipated numbers such as “Beauty and the Beast.” Or portrayed believable emotions when reacting to her surroundings as Visscher showed a gentler side to his character through his soothing voice. Or had some pitch problems on higher notes in her songs, but let her true voice shine through her lower register.

Malcolm Foley, as Gaston, added comic relief and charm to the show through such numbers as “Gaston,” while his trusty sidekick, Lufou (Zack Pinsky) brought energy and more laughs to each scene the duo were in. Russell Ottalini, who played Lumiere, was able to key in on his character bringing wit to the stage, while Francesca Blume, as Mrs. Potts, let her express her tuneful voice on “Beauty and the Beast.” Though the entire cast was hard to hear throughout the show from lack of projection, each member of the cast had an individual character they were depicting, making each scene fun to watch.

Blair’s Pit Orchestra performed the score with minuscule flaws. The pit orchestra never became distracting, even when playing underneath spoken scenes. However, during songs, actors were hard to hear, or suddenly became too loud, because of lack of consistency with microphones and volume.

With dancing forks, spoons, plates, and cups galore, clocking in at two and a half hours, Montgomery Blair portrayed this “tale as old as time” with fun and enthusiasm.

by Laura Butvinik of Winston Churchill