Although Sweeney Todd’s roots are in Renaissance revenge tragedy, 19th century English penny dreadful stories, and a 1973 dark melodrama, its concerns with class social differences, economic inequality, exploitation, and inhumane actions haven’t lost their relevance. Nor have the power of literary suspense and triumphant romance. All receive emphasis through music at once classical and contemporary. At Asolo Rep, a relatively small cast acts with great aplomb. Basically, action (described in “The Ballad of Sweeney Todd”) is mounted impressively in and around “No Place Like London” with its busy, dirty Fleet Street and crowded environs. Home from the seas with a new name, Sweeney Todd (Allen Fitzpatrick, always darkly determined) swears to avenge the reported death of his wife at the hands of Judge Turpin (James Ramlet, rightly insufferably authoritarian) and his henchman Beadle Bradford (Colin Anderson, perfectly blackhearted). The Judge is now guardian to Sweeney’s daughter Johanna (pretty Elizabeth Hawkinson). Plqyed by Perry Sherman with great voice and mien, sailor Anthony Hope, who’d saved Sweeney at sea, proclaims love for “Johanna” at first sight. The two overcome great odds to get together so each then justifiably commands “Kiss Me” and obeys. Meanwhile, Sweeney wins a shaving contest with Italian barber Pierelli (impressive Evan Tyler Wilson). When he tries to blackmail Sweeney, Pierelli is fatally dispatched. Sally Wingert’s scintillating, often comical Mrs. Lovett the pie-maker gives Sweeney the great blades he needs to go on killing. Since he missed his first chance to kill the Judge, he decides in an “Epiphany” to now slit the throat of almost everyone, for aren’t most men useless or harmful? Mrs. Lovett the evil pragmatist successfully asks to use the dead bodies in her meat pies (“A Little Priest”—probably the show’s best song). Customers make the pies a big hit (“God That’s Good”). Mrs. Lovett is helped by David Darrow’s devoted Tobias, formerly Pierelli’s assistant. “Not While I’m Around” will Mrs. Lovett and her shop be upset, Tobias sings. It’s when the two of them render “Parlor Songs” with Beadle that change is predictable. On comes a “City on Fire”, which engulfs pretty much everyone in one way or another. Will Sweeney get his revenge and come out unscathed? What happens to the Judge and Johanna? There’s a Beggar Woman who’s an obvious prostitute (a powerfully pitiful Sara Ochs) who’ll turn out to be someone else. What happens to Tobias and the loving couple? Sticking out all of Act II will bring one answers. The show benefits from Peter Rothstein’s excellent coordination of all the actors and the splendid production crew’s designs and work. His vision of 19th Century London society and today’s comes through Stephen Sondheim’s generous offering of music and lyrics well, as directed and arranged by Gregg Coffin. They hit an artistic high, if not as complete an emotional one. But, in my view, that’s so typical of Sondheim’s later work that one comes to expect it.
