“Spit it out, dear. Go on. On the floor. There’s worse things than that down there.” – Mrs. Lovett
And she’s right. In a world where borders are overlooked, people are minimalized, and one pill or another is all you need what ails you, the floor of humanity is riddled with disgust. The Havre de Grace Opera house has found a way to give us a three-hour respite from what lies outside their doors. Ironically, it comes in the form of murder…and pies. In a production that is full of everything you ever thought theatre could be, save room for pie.
First let me address the elephant in the room that is the program. QR codes suck, and the Opera House was littered with them. There was a QR code for upcoming events at the Opera House. There was a QR code for the Havre de Grace STAR Centre. There was a QR code for the playbill as well. I kid you not, I scanned one of the QR codes and it took me to a page that had another QR code. How can I scan something on my phone with my phone? Maybe I’m too old fashioned. (I attended a show the night prior as well and the consensus of the audience was, we don’t like it.) People want a program in hand. Some people even collect them. QR codes only benefit the producer. If I’m spending $50 of my hard-earned money, then I don’t think a piece of paper listing the roles and musical numbers is too much to ask for. I was having a discussion with one of the ushers and I mentioned that two theatre companies operate out of the Opera House and the Opera House itself puts on productions as well. I asked, “Who is producing this production?” The answer I got, “I don’t know. That is a good question.” Case closed. Physical programs are necessary.
This piece is presented by the Havre de Grace Opera House. What they lack in communication, they make up for in content. Having very limited information I’m kind of shooting from the hip here. I’m sure there is a wonderful back story as to how this project was conceived, but we may never hear it. Suffice it to say that there is a feel-good story here. Local boy returns home to spread cheer amongst his people. Director Brian Michael Hoffman grew up in Randallstown and now lives in New York where he supports himself through his work in the arts. (Sidenote, he performed with several groups in Maryland one of which being Liberty Showcase Theatre. My company was just starting when Liberty closed. I was blessed in that they gave me their old flats and set pieces. Now I can say that I have treaded the same boards as Brian Michael Hoffman.)
Hoffman’s staging in a word is brilliant! He takes set designer Sammy Jungwirth’s simple but artistically perfect set and transforms it into an entire section of London. His use of the doors to create the illusion of levels stands out as an example of his genius. Hoffman is aided by lighting designer Tyler Bristow in making something small appear larger. Bristow not only sets the mood through the production to a tee, making it appear that the stage is several locations at once allowing for a fluid yet believable experience. Additionally, Hoffman’s placement of the singers during certain scenes adds to the whole Fleet Street experience. Actors move off stage as well as line the stairs at times making you feel like these 18 people have the vocal power of the entire Mormon Tabernacle Choir.
Perhaps the biggest and most memorable part of the production was the sound. We all know how the tech gremlins like to mess with a production, and at this show, they were shut out. Andy Hudson doubles as the Musical Director and Sound Designer and he performs both tasks like Gordon Ramsay preparing his signature dish. Snap, Crackle and Pop were forced to stay in a cereal bowl that night as the stage belonged to Hudson. Everything was crisp and clear. Many times, when the ensemble joins in with a lead the lead is washed out until the balance is reestablished. This was not the case with this production. His actors and his board combined for an outstanding performance.
Not to be outdone, Choreographer Marguerite Willbanks and Costume Designer Beverly Whaley leave an indelible mark on this production. Willbanks takes a show with no real iconic dance number and turns it into her own Rockefeller Center. Her charges glide with precision across the stage like skaters at Christmas. I especially like the opening number with the fluent introduction of the cast. Whaley costumed the show as if she had an entire closet just waiting for someone to perform this piece. The costumes were all period pieces that seemed to be tailored to each actor. In so many productions you see actors that look as if they were children raiding their parents’ wardrobe. This was not the case. Each piece seemed to be designed for its wearer. Mrs. Lovett’s outfits were the crowning jewel for this costume queen.
Stage Manager Kalea Bray is not to be overlooked. There were no pauses in the show as her actors kept things moving a la Hamilton. Pieces were moved off and on by the cast quickly and with purpose. The multiple uses of the trunk tied in well and it was interesting to see actors setting up for the next scene because it all fit so well.
One thing that did get lost to me is what was referred to as “The Quintet”. It was comprised of Brett Conway, Kit Flaherty, Lindsey Galicki, Emily Jewett, and Steven Soltow. While they all had Broadway quality voices, there was nothing separating them from those listed as victims, lunatics, customers, etc., other than Soltow who doubles as Adolfo Pirelli. This is to say that while the quintet held down and provided a strong foundation for the music, Anne Acerno, Molly McVicker, Phil Hansel, and Jonah Wade were equally as strong. Taking nothing away from a great performance by the Fab Five, Acerno et al show the strength in this entire cast and should be commended.
Sweeney Todd, like much of Sondheim’s work, is a difficult piece to perform. It’s not done in community theatre and with good reason. The casting for this show is another mystery which I’m sure has another good back story. Let’s just say, whoever the powers that be are, did an excellent job. Let’s start with the poor “right guy, wrong place” that is Tobias Ragg played by Evan Christy. Christy has an innocence about him that plays well alongside Lovett. KP (Beggar Woman) is another who’s voice is only out done by their stage presence. KP gets the most out of and delivers in every scene they are they are performing.
In a show with so much positivity, from the actors not the material, for me one of the brightest stars was Emily Sinclair (Johanna). Sinclair is the type of actor that more theatre companies should be casting. This ingenue has the voice of an angel and looks to go with it. Her soprano voice is loud but not piercing. She demonstrates total control of her instrument and puts on a performance that is not to be missed. Playing her hero is Adam Kindley (Anthony Hope). Kindley is a triple threat on stage. As amazing as his acting and movement are, his voice is one that you want reading your audio book. Kindley shows off a range longer and more beautiful than the Adirondacks. It is not listed in his credits, but the first thing I thought of was Raoul, Vicomte de Chagny.
The role of Beadle Bamford has always been one that I’ve found interesting. I have seen him played from faithful although somewhat too governmental to an outright lunatic himself. Jordan Baumiller has found the perfect pocket between the two. He is a true tenor who seems to easily glide easily through any vocal task. He delivers a three-hour master class on how to play the Beadle. After seeing his performance, you will be relieved that he is not your child’s bus driver. Bamford has the ability to bring creepiness to a whole new level and I love that for him. Excellent performance!
Full disclosure, I would pay to hear Michael Bevard read the phone book. A treasured, Baltimore theatrical legend, who rarely performs anymore, his role of Judge Turpin cements his legacy. Bevard was flawless from the time he hit the stage to the closing curtain. His baritone voice resonated the Opera House and filled it with the warmth of a soft cuddle. Bevard is another actor who is the complete package. His acting pulls you into his character so much you start to feel for him, and then it is as though you need to wash. As Turpin, he’s like that uncle no one ever talks about. Bevard is one of those once in a lifetime, local talents that will be talked about well after his acting days are over. Do yourself a favor and see him now.
There are roles that every actor would like to play. Then there are roles that some actors are born to play. Jason Hentrich (Sweeney Todd) and Sierra Naomi (Mrs. Lovett) were born to play these roles. Hentrich’s strong voice and far off stare are Sweeney in a nutshell. His ability to transition from loving father to obsessed lunatic is seamless. His deliverance has you battling yourself not to justifying his actions. As a father he makes you want to stand next to him, and yet watching him spiral will make you rethink your decision. Powerful performance. Naomi is everything that Todd is but, in a loving, feminine way. Harry Truman said, “If you want a friend in this city, get a dog.” Her portrayal of the manipulative Lovett is proof that Sweeney should have gotten a dog. Not only can Naomi sing beyond belief, but she also brilliantly navigates the script never letting you see the true side of her character. We may have attended the tale of Sweeney Todd, but Naomi slyly reminds us it is Lovett’s drama.
There is a big difference between going to something and attending something. To go to something, you merely show up. To attend something, according to Webster, is to “deal with” it. Attend the tale of Sweeney Todd!
Running Time: Approximately 3 hours with one intermission
Sweeney Todd: The Demon Barber of Fleet Street plays through Sunday October 22nd 2023 at The Opera House in Havre de Grace— 121 N. Union Avenue in downtown historic Havre de Grace, MD. For tickets call the box office at 443-502-2005 or purchase them in advance online.
