Attending the tale of Sweeny Todd

I try to make a point of catching Sondheim shows whenever they pop up. Musical theatre, particularly in London, is often seen as a home to crowd pleasing spectacles, something to entertain the tourists, rather than as a worthwhile medium in it's own right. This criticism seems increasingly valid as in recent years the stage has been swamped with adaptions both of films and of the back catalogue of pop stars old and current. I can't necessarily fault this, since beyond the familiarity there's occasionally to be found some exemplary stagecraft, and perhaps even some immensely enjoyable entertainment. Still I'd class few of these projects as daring, or even original. Fortunately Sondheim can be relied on to buck the trend. His shows are more thought provoking than crowd pleasing; structurally complex, and lyrically and melodically challenging - you'll rarely exit the theatre humming the score, but you'll almost certainly be left with a lasting impression.

Sweeny Todd is no exception. As you might expect of a tale concerning the life of a 18th century serial killer, it's not the happiest of tales. The current production at the Whitehall Theatre favours a minimalist approach, featuring a basic, though apt, set and a cast of only 9, most of whom are assured a grisly, though tastefully portrayed fate, by the time the story ends. The minimalism I mention above also extends to the orchestra who, rather uniquely, have been done away with. Instead the cast doubles as the orchestra with each member carrying around their own instrument when necessary. It's a fascinating approach, which is carried off with consummate professionalism despite being what I can only assume to be a logistical nightmare.

As for the story itself, it casts Sweeny Todd as a wronged man - once a loving husband whose life was sent spiralling into tragedy when a powerful judge starts to covet his wife. He returns from exile after 15 years to find the judge still in power, his wife dead after taking her own life, and his daughter raised to adult hood by his mortal enemy. His sole motivation now is revenge. Surprisingly, the show is not without a sense of humour, though it is a humour of the blackest nature. This is largely provided by the character of Mrs Lovett, who aids Todd by helping him to return to his previous career as a barber, and, when his murderous instincts get the better of him, in the disposal of his ex-clientele... by using them as ingredients for her pie shop.

Over the course of the evening, evil of all sorts is justly punished and by the end of the show, only the innocents, few though they are, are left standing, but far from unscathed by their experiences.

Highly recommended if you like that sort of thing. And even if you don't.