National Operatic & Dramatic Association
Society
Production
Date
Venue
Report by
London Region
: EBOS
: Sweeney Todd – The Demon Barber of Fleet Street
: 5 November 2010
: Wilde Theatre, South Hill Park, Bracknell
: Steve Bold, NODA Representative, District 14
________________________________________________________
Report
To convey horror, a thriller or a truly evil character on stage is not an easy thing, there is not the same opportunity
to build tension as with the silver screen, but here was a show that found the darkness, found to make it an
uncomfortable evening in the audience in the best possible way. EBOS have put together an outstanding
production of Sweeney Todd, right from the set and staging through the actors, music and costumes to the
singing, the choreography and the raw tension. This was everything one could have hoped for both as cast or
crew member. The audience were treated to drama and emotion of the highest order, and although the cast was
an extensive one, I must make mention of the outstanding performances from Duncan Hamilton as Judge Turpin,
Michael Hawk as Sweeney Todd, Laura Thain as Mrs Lovett and James Marshall-Stack as Anthony Hope. A
thoroughly enjoyable and emotional production, perfect theatrical viewing for any fan of theatre.
Sweeney Todd, Michael Hawk
I don’t like to refer to previous performances, but this is the second time I have seen Michael as Sweeney Todd.
No two parts are ever the same though, this was so much darker, the vengeance in Sweeney’s eyes, his
movement and mannerisms all produced a much more tormented and bereft character. I was particularly
impressed by his relationship with Mrs Lovett. They have to appear as one, as driving each other to the same
diabolical ends, but the comedy and tragedy both stood in their moments together.
Mrs Lovett, Laura Thain
Laura never fails to give a character her own personality and idiosyncrasies. Totally committed to the role, full of
life, facial expressions, cheeky asides and moments of pure comedy. Laura lit up the stage as Mrs Lovett; her
introduction lightened the mood, before bringing everyone back down to earth. The song delivery is excellent as
she conveys such emotion and diffidence, whilst still maintaining her composure and perfect pitch. It was a delight
as always to witness another of this actress’ convincing creations.
Tobias Ragg, Aedan Day
A younger actor than some other productions of Sweeney Todd that I have seen, but Aedan had very definite
cheeky London persona, he bounced around the stage, eager to please Mrs Lovett. His desire to please her made
it all the easier for the conspirators to play on his naivety. On the one downside, I think he could have made more
of his descent into eventual madness; there wasn’t quite the wild eyed sense of loss that can be displayed.
Anthony Hope, James Marshall-Stack
I particularly liked James’ performance; I thought he had a very poignant voice that really suited the songs of his
character. There was also an inner strength about him, in that although he appeared quiet and romantic, there was
the possibility of more than steel underneath. He developed an excellent stage relationship with Johanna that
really underpinned the more romantic aspect of the story.
Johanna, Emily-Jane Ashford
In her first principal role with EBOS, Emily-Jane certainly didn’t disappoint. A beautiful voice both in delivery of her
songs, but also in the piercing exclamation of emotion at the realization of the Judge’s intentions. Emily-Jane was
a thorough delight to watch and had a real presence about the stage, whilst also being delicate in her demeanor.
Beadle Bamford, James Lole
James comes across as quite an imposing gentleman, someone who stands above others both in his physical
stature, but also in the way he carries himself, with authority and a deliberate nature. This made him a very natural
performer as the Beadle; I thought he really gave the part some gusto and venom. An excellent performance and
very watchable throughout., it is often said that playing a baddie is so much more fun and I think James enjoyed
his ‘henchman’ role.
Beggar Woman, Jenny Green
Knowing the story, I was interested to see if Jenny could convince me of the purpose of her character and did she
ever. She really threw herself into this role, the switch from poor beggar woman asking for a few pennies to the
deviant side of her lost personality was so shocking but so seamless in that she never lost a beat in her delivery. A
delightfully dark performance that only added to my overall enjoyment of the production.
Signor Adolfo Pirelli, James Atkins
Not quite a comedy character, but certainly a lighter touch than others in the plot. Over the top with false bravado
in his street trader guise, James gave a brash and confident performance. As he reveals his true self and tries to
engineer a deal with Sweeney we see that he is not all the humour and rogue salesman but has the same black
heart as so many others. A convincing and enjoyable performance.
Judge Turpin, Duncan Hamilton
The darkest character of all, although Sweeney is the mass murderer it is Judge Turpin who comes across as the
real villain in my eyes. Self-aggrandizing, self-important, and so hypocritical in his actions and personality,
Duncan’s performance was one of the best I have seen from him. Two particular scenes stand out for me – firstly
the staging of the rape of Lucy Barker and the way Duncan threw his character into the moment, truly terribly but
so enthralling. The second as he whips and flagellates himself in what he believes is suitable punishment, then the
look of self satisfaction as he tries to demonstrate his intentions to Johanna. An excellent performance on all
counts, very well done!
Mrs Fogg, Phaedra Ashford & Lucy Barker, Erin Hope Pharo
Smaller characters within the production but both played with definition and confidence. Mrs Fogg, more often a
male character, but Phaedra did a marvelous job of presenting the callous uncaring nature of the asylum owner.
Erin as the younger Lucy Barker showed her beautiful dancing skills once again, her movement is always so fluid
and smooth. Great performances from both.
Chorus and Ensemble
There were so many minor characters or ensemble players and chorus dancers that for the relevant numbers and
scenes, the stage was abundant with action and visual aspects. Everyone played their part and clearly had been
directed right down to the smallest movement. This was a true ensemble production, full of team work and people
enjoying themselves in the parts and opportunities they had been given.
Choreography, Gillian Albone
The movement on the stage is just as important as the acting, the music and the singing. Everything has to come
together to give a fully rounded production and Gillian has given the cast an opportunity to express themselves but
also kept everyone together in specific groups but also as a full cast. The big numbers were a feast of visual
enjoyment, so many different aspects to concentrate on, different characters giving their own emotive
performances whilst being an integral part of a much greater whole. The sum of all parts was greater than the
whole in some ways, but the whole was big enough to hold its own head up very high. Very well done.
Julie Dance, Musical Directors
The music was superb throughout the show, so evocative and demonstrative alongside the action and songs on
stage. There were excellent moments in the show where the music raised the emotion of a scene in further up the
spine. Specifically the ‘many’ death scenes, but I must come back to the rape scene again as a stand out mention.
A great performance from the orchestra, the music was worth the ticket price alone.
Alan Valentine & Lawrie McLennan, Lights
The lighting throughout the performance was dark and dank, creating a marvellous impression of fog and musky winter,
close evenings and nights, where the sun is not allowed to venture. There were spotlight moments for the soloists when
relevant, but there was not the bright summery moments of more uplifting musicals, the only real time there was ‘light’ were
instrumental in highlight the goodness of such characters as Johanna and the young Lucy Barker. A mysterious and
foreboding impression throughout, just as required.
Tom Horrox, Sound
As previously mentioned, the music was of a very high standard and did a fine job of complimenting the soloists and
ensemble numbers throughout. There was also the work of the sound crew, creating the atmosphere alongside the lighting,
making us really feel we were in old London. I know some of the places depicted on the stage, but obviously in their modern
guise and I could feel myself walking down those streets as the eerie music came over me. There were no cues missed that I
could tell on the effects either and some were well used to comedic effect as well.
Fun n Frolic / EBOS Wardrobe / Flame Torbay Costume Hire Ltd, Costumes
EBOS are very experienced in ensuring their costumes fit the time period and no one looks out of place, the same was true
here. Sweeney Todd looked like Benjamin Barker in his more friendly lighter colours, but clearly changed into the darker side
of his personality when in black.
Mrs Lovett was the typical old fashioned baker woman in her dirty flour covered dress, with her hair going in all kinds of
directions. The transformation into her garish colourful ensembles was very striking, and they looked out of place on her in
the guise of the character as she was not a ‘posh’ lady, making the strangeness of her character stand out all the more.
The chorus all fitted well in their many scenes, as crowd members in the street scenes, members of the asylum or in the
many assorted supporting roles to the principals. I didn’t see an unwarranted watch, a ring or a pair of trainers, but neither
did I expect to.
Stage Crew and Backstage
Although the stage was dominated by Sweeney Todd’s barber shop and Mrs Lovett’s pie shop, it never felt crowded, there
was always ample space to move. The cast utilised the space of the stage very well, even with the restrictions and the sheer
number of them, there was no bumping or looking for space, everyone knew their spot and they each moved as one
amongst the crowd as they themselves were the crowd. A good demonstration of how to move with purpose but make it look
ambling or spontaneous.
This was a well drilled crew, they moved with purpose and urgency but without looking hurried or harried. Obviously they
were clearly visible as they went about their business, as they performed behind the action, setting up for the next scene or
scene part, but the standard of the main action and the professionalism of the crew ensured they were not a distraction.
Stuart Hallyor, Director
To take on Sweeney Todd as your directorial debut is tall task, but Stuart is not one to shirk a challenge. He has
certainly risen to this one as this was a production of so many highs in its standard and lows in the level of evil and
emotion that I felt and I’m sure the remainder of audience did too. Shows of this kind of material can be hard on
the cast in that it is not easy to be so dark and unlikeable whilst still having fun within yourself.
The staging throughout was excellent, I have mentioned it before but I must do so again, the movement of the
chorus and dancers in the rape scene, the shielding of the principals was excellent, I cannot praise enough how
well I thought this was put together.
Every aspect that I could see must have been pored over in great detail as Stuart has produced something of real
quality and distinction. Everyone in the show can be justly proud of their director and themselves as this was an
outstanding production.