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Baldwinsville Theatre Guild drenches the hall in terror (Review)



Baldwinsville Theatre Guild takes community theater to its most excessive and impressive stage with “Sweeney Todd: The Demon Barber of Fleet Street.” The proficient forged, comprised principally of proven troupers with a few gifted novices, conveys each globule of revulsion inherent Within The macabre Steven Sondheim-Hugh Wheeler musical that gained nine Tony awards in 1979.

Set mid-19th century In The underbelly of London, “Sweeney Todd” is an oft-advised story of consequences, evil begetting evil. Sondheim’s musical model of the narrative gifts backstory In The prologue with “The Ballad of Sweeney Todd,” which the corporate repeats at key factors all the way through the two acts. The audience learns of a barber, Benjamin Barker, who’s again in London, having escaped a prison colony in Australia The Place he spent 15 years in exile on false fees. The licentious Decide Turpin, who lusted for Barker’s Wife, Lucy, had framed him.

Need for revenge drives the barber to suppose a brand new identify and arrange store, The Place he takes his talent for giving a detailed shave to deadly extremes. Removing corpses from the tonsorial parlor falls to landlady Mrs. Lovett, who grinds them for ingredients in her famous meat pies.

Within The title role, Benjamin J. Sills turns in a superb efficiency, providing the mad barber as a completely developed character whose evil acts are born of his search for retribution. Sills promises spot-on vocals in his strong, expressive baritone, poignant on “The Barber and His Wife,” and terrifying on “Epiphany.”

Cathleen O’Brien Brown strikes a balanced tone in her portrayal of Mrs. Lovett, showing the frequently-inebriated baker as damaged, deranged and desperate for human contact. The landlady lusts particularly for Sweeney Todd and helps him cover his actual id. Brown’s piping contralto by no means fails in solos—”The Worst Pies in London,” “Via the sea,” and “Wait”—or ensembles. Especially enjoyable is her delectable duet with the barber, “a little Priest,” which attributes different flavored pies to contents from totally different professions.

Young love finds a spot amid the grotesque In The relationship of Anthony Hope, performed Through Colin Keating, and Sweeny Todd’s daughter, Johanna, Ceara Windhausen. Her winsome “Green Finch and Linnet Fowl” and their romantic duet, “Kiss Me,” both in Act I, are appealingly sung. Keating’s ballad, “Johanna,” in Act I portends a fantastic vocal efficiency, and he by no means disappoints the audience.

Liam Fitzpatrick is in his third manufacturing of “Sweeney Todd,” but this is his first time taking part in the obsequious lackey to evaluate Turpin, Beadle Bamford. A sullied dandy, he takes care of all the dirty work, together with the investigation into acrid odors emanating from Mrs. Lovett’s chimney. Fitzpatrick’s soaring tenor is crucial to ensemble items, and it is excellent in his exhibit quantity, “Girls and their Sensitivities.”

Turpin, who contrives to keep Johanna in his clutches, is played By Using Robert G. Searle, who elicits sympathy for his character regardless of the Judge’s depravity. Dan Williams makes his stage debut with the company With The Aid Of giving a bright character performance as Pirelli, the street barber.

The Solid of “Sweeney Todd.” 

Cheers and an extra slice of pie to Gregg Bilyeu for rotating sets that work effectively In The small house and to Stephanie Long and Heather Jensen for costumes evoking the technology.

The synergetic impact of director Korrie Taylor and track director Abel Searor money owed for a lot of the exhibit’s success. They collaborated on BTG’s different latest musicals—”Les Depressing” and “Jekyll and Hyde”—both recognized with SALT awards. Searor, with a nine-member ensemble, continues the integrity of Sondheim’s ingenious score and produces track that fills the distance. His meticulous training of singers is evident In The clear diction and desirable mix of the refrain.

Taylor takes a moderate method to the show’s gore but nonetheless communicates the entire horror of humanity’s basest behavior—rape, murder, cannibalism and enslavement. Revulsion seeps deep into the thoughts, reminding viewers that the potential for madness skulks in anyone. As strains of the traditional Dies Irae from the Mass for the useless wind throughout the rating, we face the worry and finitude of existence as we shudder at BTG’s “Sweeney Todd.”

THE MAIN POINTS:
What: Steven Sondheim-Hugh Wheeler’s “Sweeney Todd: The Demon Barber of Fleet Street”
Where: First Presbyterian Church Social Corridor, Baldwinsville
When: Reviewed Jan. 29; continues through Feb. 7 with performances at 3 and 8 p.m.
Length: 2 hours Fifty Five minutes, with one 15-minute intermission
Tickets: $25 ($23 seniors Sunday matinee only). Name 877-8465 or online at baldwinsvilletheatreguild.org



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