As a story born in the pages of a Victorian penny dreadful, Sweeney Todd demands sensationalist reporting. Luckily, DULOG’s production more than delivered. The atmosphere was thick with excitement even before the show began, and the curtain rose to reveal a stunning set designed by Libby Simpson. The scarlet-edged bricks matched the red accents worn by most of the cast, hinting at the violence of which each character proves to be capable. 

Our first introduction to Tom Carroll’s Sweeney Todd was understated considering the powerful performance we would see throughout. The barely-leashed bloodlust was disguised at first by a surprisingly smug, as well as bitter, persona. Todd took pleasure in the hidden double meanings in his words and enjoyed his banter with Connie Richardson’s Mrs Lovett. However, the lighting showed this amiability to be a lie right from the off. Under Leyla Aysan Montoya and Rory Collins’ stewardship, the lights pulsed red as Todd’s anger built, creating an aura of menace that undercut the lighter moments and made the darker scenes even more powerful.

The barely-leashed bloodlust was disguised at first by a surprisingly smug, as well as bitter, persona

I had originally noted My Friends as the showstopper but quickly learned that it was indicative of the high quality throughout. Carroll portrayed Todd’s instability in both My Friends and Epiphany, with the lights shuddering between red and white to emphasise his lost control. In addition, Todd saw the audience for the first time during Epiphany, dragging the audience into danger and highlighting his shaky grip on reality by breaking the fourth wall. 

Connie Richardson was an outstanding Mrs Lovett, winning over the audience immediately. Her burlesque style contrasted with when she let her vulnerability slip to create a truly compelling character. We loved, pitied and felt betrayed by her all at once. Richardson’s nuanced performance allowed for significant foreshadowing without overplaying the reveal at the end of the play. In particular, the wide-eyed, maddened stare she directed either at Todd or out at the audience was both hilarious and chilling. Carroll and Richardson made a brilliant comic team despite their gruesome activities.

Connie Richardson was an outstanding Mrs Lovett, winning over the audience immediately.

On the subject of comedy, Midun Odunaiya merits a special mention as Tobias. His timing and characterisation were perfect, creating an endearing figure that the audience instinctively rooted for. The Beadle’s (Bede Capstick) hilarious – and utterly convincing – piano skills were also noteworthy. 

Michael Nevin’s Judge may have been too convincing for his own good, as the audience audibly shuddered at some of his slimiest moments. It was hard to believe that he had played the endearing but hapless Seymour in Little Shop of Horrors only a term ago. He showed an unsettling intensity that was a refreshing take on a character often played as simply self-important. Mathilda Ketterer’s Johanna brought an innocence to the role that alleviated the tension built by Carroll and Nevin, while Joe Butler-Smith’s earnest portrayal of Anthony complemented her performance. 

Michael Nevin’s Judge may have been too convincing for his own good

The band tackled a difficult score with enthusiasm. Haunting cello solos and accomplished motifs from the brass were a credit to the instrumentalists and their Musical Director, Sammy Cormack-Repath. Even with a diminished number of musicians, they created the perfect atmosphere for such a complex play. 

Overall, DULOG’s Sweeney Todd was a triumph. I’m sure everyone that saw it is looking forward to their next production, and I would recommend that those who missed it keep an eye out next term. This performance is rated two out of two straight razors. 

Image credit: Bee Wilkes