Returning for a welcome encore season, this delectably dark production of Sweeney Todd is arguably stronger than its original 2015 season.

A co-production of Victorian Opera and New Zealand Opera, Sweeney Todd was the third instalment in the very well received Victorian Opera Sondheim Trilogy. Current artistic director of Victorian Opera, Sweeney Todd director Stuart Maunder was general director of New Zealand Opera at the time. 

Original leads Teddy Tahu Rhodes and Antoinette Halloran played Melbourne (2015) and Auckland (2016). The production was revived with Halloran now joined by Ben Mingay in Perth (2019), Adelaide (2021), Sydney (2023), and this current Melbourne season. 

Sweeney Todd remains a popular title thanks to the intoxicatingly complex music and lyrics of Stephen Sondheim and the pitch black comedy of the book by Hugh Wheeler. The hardy life of this production lies in Maunder’s meticulous direction and the impressive scale of the set and costume design by Roger Kirk. 

Maunder leans into the quirky mania of the full set of lead characters; in fact, remorseless killer Sweeney comes close to being the calmest of the lot. The comedy is expertly realised but never at the expense of the heart of darkness. Dramatic stakes remain chillingly high and the pathos lands with full weight.

Kirk’s various wooden set pieces handsomely fill the Playhouse stage, creating a claustrophobic world of chaos. The costume palette, particularly for the ensemble, is well chosen, with blacks and greys highlighted with splashes of red, creating a cohesive atmospheric stage picture. 

Philip Lethlean’s lighting design creates wonderfully murky shadows, bathing the stage in blood red at the story’s most gruesome moments. With the orchestra offstage, sound designer Jim Atkins balances the music perfectly, although it must be mentioned that with the strength of the singers and musicians involved it would be great to somehow hear an acoustic performance. 

Leading the Victorian Opera Chamber Orchestra of twelve musicians, conductor Phoebe Briggs draws out an impressively rich sound. Characterful featured solo moments are played with great flair. Creating the initial spooky atmosphere, the organ prelude was recorded on the Melbourne Town Hall Grand Organ, played by Calvin Bowman.

Setting the gold standard for an opera company presenting a musical, Victorian Opera primarily casts opera singers in Sweeney Todd. The twelve voices of the ensemble are superb and are an invaluable asset to the high quality of the performance. 

With a physique as imposing as the burnished darkness of his baritone voice, Mingay portrays a Sweeney who is physically frightening even without a razor in his hand. Mingay commandingly captures the all-consuming vengeful drive of Sweeney, leaving no doubt that the tragedy will unfold to its bitter end. 

Retaining her lusty, busty characterisation of bloodthirsty Mrs Lovett, Halloran has found new layers of fiendishness; in a couple of instances, she audaciously adds the suggestion of violent acts committed by Mrs Lovett herself. Halloran’s richly detailed, impeccably sung performance is rounded out by moments of tenderness, and she enjoys sparkling chemistry with Mingay. 

Mat Verevis immerses himself in the tremulous vulnerability of Tobias, continuing his characterful expression through all of his singing and delivering a compelling climactic mad scene. 

As the poor dear Beggar Woman, Margaret Trubiano wins the audience with sharp comic timing, amusingly flipping between the woman’s pitiful cries for alms and her fiendishly saucy attempts at prostitution. Trubiano also sings the role with plaintive beauty. 

Playing a virile Judge Turpin, Adrian Tamburini creates a solid match for Sweeney. Although it was cut for the 2015 season, the Judge’s self-flagellation number “Johanna (Mea Culpa)” is re-inserted, with Tamburini giving an unflinching performance of the deliberately disturbing scene. 

Kanen Breen returns as Beadle Bamford, magically and amusingly concocting a mix of both fey and sinister stylings. 

Delightfully dressed as a cross between Captain Hook and Willy Wonka, Euan Fistrovic Doidge brings delicious flair to the colourful role of showy barber Pirelli. As strong an actor as singer, Doidge nimbly delivers the patter of “The Contest” and successfully lands the humour of the reveal of Pirelli’s true self.

Lustrous soprano Alessia Pintabona sings with requisite sweetness as Johanna, capably partnered by fine lyric baritone Lachlann Lawton as the noble Anthony. 

Playing for little more than a week, local fans will need to act promptly to catch this crowd-pleasing rerun season of Sweeney Todd.

Sweeney Todd plays at Playhouse, Arts Centre Melbourne until 21 September 2024. For tickets, click here. 

The Sweeney Todd program can be read online. 

Footnote: not one to be political as a rule, but it is amusing to note that the mention by Mrs Lovett of “popping pussies into pies” earns extra snickers at this time.

Photos: Charlie Kinross