In 2015, I witnessed Stephen Sondheim’s Sweeney Todd come to life on stage for the very first time in a production by Victorian Opera.
Back then, the pivotal role of Mrs. Lovett was played by Australian soprano, Antoinette Halloran. 9 years later, while the set has stayed the same, its choreography and costuming appearing as familiar as I can remember, and its sound effects are the same – right down to that high pitched factory whistle. Although some faces and voices have changed, our Mrs. Lovett remains to be the beloved Antoinette Halloran.
Admittedly, last time, I felt that Halloran was far too young and pretty to play the iconic role of our feisty pie queen. I don’t feel that way anymore. Not that she isn’t beautiful nor did her voice ever falter, but I feel that Halloran, who also recently played the role as well during the production’s 2023 Sydney season, has grown into the role immensely. I now believe her disdain with society, I understand her attachment to Sweeney with her romantically vying for his attention, which has been for the most part, diverted and focused on revenge. If anything, Halloran is the heart of Victorian Opera’s Sweeney Todd.
Kanen Breen also returns to the role he played in Melbourne 9 years ago as The Beadle. Although, he seems far more animated and hilarious than I remember, as the side-kick villain with a love for one too many songs on the organ, much to Mrs. Lovett’s dismay. Breen is so dastardly delicious in his role and appears somewhat in his element as the dark comedic character, to the point where you’d find yourself quietly wishing that The Beadle would play more songs at Mrs. Lovett’s expense. The best part is, I’m convinced that Breen is having the time of his life playing the role too.
Another character that wanes on Mrs. Lovett’s spirits is the Beggar Woman played by Margaret Trubiano. The role of an old, homeless mad woman may seem easy, but it’s not and Trubiano aces it. The vocal acrobatics and even when she’s not singing and is restlessly flinging herself about or pestering people in public, Trubiano truly transforms into the role she’s given and knocks it out of the park.
One of the people that the Beggar Woman pesters throughout the show is none other than Lachlan Lawton’s Anthony Hope, a kind, gentle, newly arrived sailor into town that is far too sweet and trusting for his own good. Pure and optimistic, his personality almost mirrors that of his love interest Johanna, played by Alessia Pintabona.
Pintabona plays Johanna as hyper, innocent and hopeful. She may not be very switched on nor street smart, but she is likable, and how can you blame her when she’s been kept locked up for most of her life, peeping out of her window and hoping to escape? Together Lawton and Pinatbona have great chemistry, chirpily bounce off each other in scenes that are so sweet, it will make your teeth hurt!
So, who holds the keys to Johanna’s homemade prison? None other than her adopted guardian, Judge Turpin, played phenomenally by Adrian Tamburini. Okay, now I don’t remember Judge Turpin’s topless and sexually charged solo complete with him whipping himself, but for the context of the song, it works! It also helps that Tamburini’s commanding vocals are so jaw-droppingly good. Seriously, wow. Like, I hate the character but I adored Tamburini’s portrayal.
Magician-like campy crusader and not-so-humble street performing barber Adolfo Pirelli is played passionately by Euan Fistrovic Doidge with some much needed light-hearted mischief. The audience on the night I attended lapped up every single moment that Doidge was in the spotlight. Doidge smoothly impressed with his lovely vocals and natural charisma. Although the character is only alive and kicking for a very limited time, Doidge is great and makes the most of his time on stage.
I must confess, I wasn’t sure how Mat Verevis would fair as the young Tobias Ragg but Verevis transformed into Tobi. He effortlessly appeared so convincingly child-like, simple and naïve, one could believe that the role was created especially for him. Verevis’ voice, both speaking and singing wise, was expertly tinkered to match the character with such passion and ease. Verevis is wonderful.
Last but not least, Ben Mingay is beast as the iconic Sweeney Todd. His vocals are showstopping, his piercing gaze is chilling, and the way that Mingay masterfully carries himself in both an angrily confident yet emotionally depleted way is fascinating. The fierce and captivating portrayal that Mingay delivers is exactly what I had expected and hoped the character to be, right down to the slamming of the oven door in Act 2. Wow. One would believe at that moment, the oven was really piping hot and burning with rage. Not to mention, Mingay has believable chemistry not only with Halloran’s Mrs. Lovett, but also with his knives! This is one barber that you do not want to mess with. Ben Mingay is perfect as the imperfect anti-hero, Sweeney Todd.
The songs and music? Beautiful. But one would not expect any less from a titan such as the late, great Stephen Sondheim. And I’m convinced he would’ve loved this production.
Tastefully ferocious and gloomy in all the right ways, Victorian Opera’s faultless 2024 Melbourne season of Stephen Sondheim’s Sweeney Todd is a must-see bloody wonder. To enhance the experience, eat pies beforehand, not after.
Victorian Opera’s limited 2024 Melbourne season of Sweeney Todd, composed by Stephen Sondheim, conducted by Phoebe Briggs, and directed by Stuart Mauder, is now playing at Arts Centre Melbourne’s Playhouse until Saturday the 21st of September.
For more information and ticketing (if there are even any tickets left!), visit:
https://www.victorianopera.com.au/production/sweeney-todd
https://www.artscentremelbourne.com.au/whats-on/2024/seasons/vo/sweeney-todd
Photography by Charlie Kinross.
