Reviewed by Lynne Rominger / Sacramento Stage & Theatre

  Teens and 20-somethings first came into contact with Sweeney Todd:  The Demon Barber of Fleet Street, with the Tim Burton/Johnny Depp rendition that recently hit the big screen.
     But the roots of the play begin closer to musical’s “There’s No Place Like London,” when the play’s namesake character first appeared in an 1846 pulp periodical called a penny dreadful, entitled the The String of Pearls:  a romance, where the  barber preyed on his rich Fleet Street customers.
     What makes the tale even more gruesome is the belief that it’s based on an early 19th-century case. When you consider the Stephen Sondheim-scored musical possesses pie-making with people as meat, throwing lives in the furnace, a rape, lecherous old men and murderous and bloody revenge in the barber’s booth, let’s hope the story is only urban legend and meant to frighten and entertain.
    And entertain Sweeney Todd does in its Music Circus’s Wells Fargo Pavilion Premier on Tuesday, July 22, 2008. The dark, lyrical, and yet humorous musical opens with the infamous “Ballad of Sweeney Todd” sung by the strong company, progressing swiftly to the tale of the poor barber exiled, whilst his wife is then raped, kills herself with poison and his beautiful young daughter taken captive by the Judge who is at the core of all Todd’s turmoil and heartbreak.
    In a staging of a play of this magnitude—it’s a production that seemingly requires a big stage with furnaces, restaurants and upper level barber shops all in one place—one might assume that the smallish, theatre-in-the-round of Music Circus might fail. But it doesn’t. With swift changes between songs and the clever use of props, just like in last week’s Gypsy, Sweeney Todd comes alive, viewers transported to London’s notorious press area, Fleet Street.  Evan Baroletti, the scenic designer, scores with Sweeney Todd!
    Lighting Designer Kyle Lemoi and Costume Designer Marcy Froehlich expertly bring the grim and gruesome story to life and set the tone for the audience.  Though not as bloody or graphic as one might find on cable with something like the Sopranos, the bloody cutting works well enough to elicit gasps from the seated.
    But what is any play without the performances of the actors.  From leads to ensemble (and Sweeney requires a larger and larger-than-life ensemble than many shows), the actors showcase stellar performances.
     In the title role, Mark Jacoby of Washington’s Signature Theatre and winner of a Theatre World Award for his Broadway debut as Vittorio Vidal in Sweet Charity brings the brooding, vengeful Sweeney Todd to life without taking away from the empathy the audience must feel for a man so betrayed by society.  Who can’t feel for the character when Jacoby’s clean vocals, wrenchingly sings “The Barber and His Wife”?
    The conniving and secret-keeping Mrs. Lovett is played expertly, intriguingly and humorously by Mary Gordon Murray.  Along with her extensive Broadway and stage credits, viewers will recognize the actor from her extensive television appearances on Nip/Tuck, CSI, and Bones, all ironically shows that deal with cutting, bloody pursuits, and dead bodies!  Mary Gordon Murray does steal the show with her portrayal of Mrs. Lovett, eliciting howls, snorts and laughter from the crowd.  She’s especially great with her rendition of “The Worst Pies in London.”  And continues the humor even as she builds her business with the bodies of Todd’s victims.
    Michael G. Hawkins as Judge Turpin gives just enough lechery and evil to his character to make the audience question who the more horrible character might be—Todd, Lovett, or the Judge?  Any man who rapes one woman, sends her husband to another continent and then “cages” the child until marrying age just might prove more terrible than Todd’s revenge.  Hawkins’ credits include Music Circus’s Music Man, Kiss Me Kate, and Seven Brides for Seven Brothers.  He has also appeared as Georges in the critically acclaimed Los Angeles production of La Cage aux Folles.
    One last word, the ensemble deserves praise for its incredible performance on opening night, beautifully following Glenn Casale’s direction and choreography (lead actors should receive a nod as well).  Casale directed the Peter Pan starring Cathy Rigby that was both nominated for a Tony Award and filmed by A&E for which it garnered two Emmy Awards.
    Although not recommended for anyone under the age of 16 years due to the especially graphic scenes and mature subject matter, Music Circus’s Sweeney Todd is perhaps the must-see play of the whole season. Performances are Tuesday through Saturday at 8 p.m., Sunday at 7:30 p.m. and Thursday and Saturday at 2 p.m. Tickets for all Music Circus shows are $53 for Friday and Saturday evenings, $50 for Tuesday, Wednesday, Thursday and Sunday evenings and Saturday matinees are $41 for Thursday matinees.  Children under 4 will not be admitted.  Tickets are currently on sale at the Wells Fargo Pavilion at 1419 H Street, Sacramento, or by phone at (916) 557-1999.  Tickets are also available online at www.SacramentoMusicCircus.com or by calling (800) 225-2277. For groups of 12 or more call (916) 557-1198.

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