Randuwa II: Signature Theatre: Sweeney Todd: the Demon Barber of Fleet Street

When it comes to Sondheim, I've seen a lot. I've seen a lot because I like Sondheim--a lot. Do I think he's a genius? Yes. Do I think he shows are perfect? No.

What I see in Sondheim is a creative dynamo who wanted above all else to create something original. And in doing this, he created a template for himself. The challenge was always to take an idea that had never been done and tell a story full of humanity. How else could an audience delight in the tale of a pair of serial killers who feed their victims to their neighbors?...for a profit. But they do, and they come back for another helping every time the musical gets staged.

If, the plot is a bit weak towards the end and feels bumpy; this can be forgiven. The lush arrangements, cheeky lyrics and in this production intimate staging more than compensate. I can even overlook the song "Johanna". I hate it. It's just the worst thing Sondheim ever wrote--and yet, I know, many people would disagree.

Away from generalizations and on to the specifics of this production. With a seat in the second row center stage I felt like I was sitting on the laps of the performers when ever the action came close. It was a revelation in terms of engagement. The first time I saw the show, it was set in a traditional theater, and while spectacular, I realized today, it was also aloof. Combine this closeness with a cast of amazing actors, and what stood out to me most overall were the minor characters. It was as if their roles had been doubled in size, and each one was in the hands of actors I've been following for nearly a decade. To a person, this was either as good as anything I've ever seen them do OR their finest work to date. So, I'm gonna call each of them out.

We'll start with Ian McEuin as the faux Italian elixir peddler, Pirelli. To put it simply, Ian is the finest musical character actor I've seen on stage anywhere in the DMV. He reveled in Pirelli's eccentricities and adeptly kept him from simply becoming a clown. Christopher Michael Richardson is someone I've never seen hesitate to embrace a role. The last time I saw him he was the lead in the Broadway bound (and Tony winning) musical "A Strange Loop". He performed the role as the understudy, and far being a disappointment, he carried the production from start to finish. What I loved most about his portrayal of The Beadle was its subtle-ness, its carefully chosen nuisances. Rayanne Gonzales as the Beggar Woman was hilarious and pitiable, bawdy and tragic. I've seen her do such good work, but this was a cut above. John Leslie Wolfe is a fixture in DC theatre who often gets iconic role that require little of him. He was the perfect captain in Titanic, and the perfect father to Cinderella in Into the Woods. It's not that I haven't seen him do more substantive roles, I have. But none more effecting than Judge Turpin. He absolutely made my skin crawl! I saved the best for last. Harrison Smith is another journeyman actor. He's been in a lot of shows I've seen, and when I see his name in the program I take it for granted that I will get a decent performance from him. He played the street urchin turned avenger, Tobias Ragg. He had command of the character and commanded the audience's attention without division. His rendering of "Not While I'm Around" was simply wonderful.

The top billings went to two African American actors with solid Broadway experience; neither of whom (shame on me) I was familiar with. The moment I saw that Black actors would have the leads, I knew I wanted to see this production. There is a power and a depth of vocal color in a Black baritone's voice, that you just can't find in others. Nathaniel Stampley brought home the goods every time. From his part in "The Ballad of Sweeney Todd" to "Epiphany" and "A Little Priest," Stampley just enthralled with his voice and his acting. I loved it all! And then...enter Bryonha Marie as Mrs. Lovett. Who is this goddess?! I've seen Angela Landsbury do the role, Patty Lupone do the role, and even Helena Bohnam Carter (not impressed) do the role. I won't take anything from any of them, but I will just say, those who performed Mrs. Lovett before did so as a representation of their times. Marie's interpretation is Mrs. Lovett 2023! She was pitch perfect throughout every line and every note, and she not only didn't miss a single comic moment, I believe she discovered a few new ones! It's midway in this year's DMV Theatre season, but I believe hers is the performance to beat in next year's Helen Hayes Awards.

The supporting components were all superb. The set design was deceptively simple and very agile with the ensemble effecting scene shifts while singing choreographed numbers. The lighting design stood out for good reasons, connecting to the mood and highlighting the moments most pivotal to the scene. The costumes were lush and beautiful. The blood scenes were accomplished to great effect with ribbons and beads that emerged from necklines when called upon. A most agreeable way to illustrate the gore with being overly gory. Top to bottom, this was simply delightful.

Ensemble and supporting characters. In the foreground [L-R]: Christian Michael Richardson (The Beadle), John Leslie Wolfe (Judge Turpin), Rosanne Gonzales (Beggar Woman) and Harrison Smith (Tobias Ragg)