There are moments of pure brilliance in this frustrating but thought provoking production, but the unrivalled winner of the evening is the Bolton Octagon theatre. Sweeney Todd is a dark, dingy and blood soaked thriller which questions the humanity behind loss and vengeance. Its haunting score disjointedly disturbs whilst its beautiful melodies pull you closer and the closer you are the more it intrigues.
Bolton Octagon is a fascinating theatre, it produces some really challenging and exciting productions and as well as knowing the audience inside out it never fails to challenge them, this production is no exception. Stephen Sondheim’s Sweeney isn’t jam packed with hum along tunes that can be passed down the generations, the film of it isn’t a universal certificate easily accessible family movie full of smiles and good will and therefore its speaks of the bravery of the theatre that despite hundreds of much easier options to choose from they instead opt for this.
And the production is undoubtedly a success. The theatre is full, the audience captive and the notes were pitch perfect. Some of the performances were fantastic, Sarah Vezmar for example as the caged Johanna was brilliant, she never missed a note and her vocal exchanges with John Addison were without doubt the best bits of the evening. Ruth Alexander Rubin was strong throughout, acting through the songs and showing wonderful glimpses of frailty. Lloyd Gorman’s performance deserves mention too, he performed with great skill and his calmness and self-assurance often meant he stole scenes from other more frantic performers. Tobias Beer’s performances is somewhat harder to analyse, his Sweeney is a moody man who even when joyous is brooding over something, its hard to engage totally in a character who is all dark and little light, but what he does – he does do brilliantly. Having singled out performers it is also worth noting that very rarely will such a versatile and musical collective take the stage, each actor, it seems, performing their duties in the orchestra pit with the same regularity as playing their parts. The production is a masterful collaboration and but for some over enthusiastic performances from some of the community members it hangs together fabulously.
In direction however, it feels like the production is perhaps a little lost. Elizabeth Newman almost tries to do too much, which is admirable, but in striving to achieve it all it perhaps loses its footing. Where the use of musical instruments as props is inspired and the none specific time period really works, some of the cheaper gags, like an electric keyboard and a dummies guide to wig making leave the production wrestling between stunning and credible ingenuity and pantomime. The major fall out of this is that the second half lacks the tightening noose effect, the growing feeling of impending doom, and instead has a couple of belly laughs that throw the performance out of kilter. However, it doesn’t feel like the decisions were made with anything but good intentions and in the areas it suceeds it offers something really refreshing and new.
It is exciting to see challenging plays in busy regional theatres and the community feel of the Octagon is unlike any other I have been to, it is a glorious place to spend time and it knows its audience inside out. A play which shows intent, at a theatre which refuses to patronise, Sweeney Todd is a great musical and this is a great production.
Sweeney Todd is at the Bolton Octagon until 2nd July to buy tickets please click here