Soundworks Productions combines an intriguing concept with a “killer” cast to breathe fresh life into grand guignol classic Sweeney Todd. 

A clear favourite of local audiences, Soundworks Productions’ season of Sweeney Todd opens with precious few tickets remaining even after the addition of extra performances. Advance ticket buyers have been rewarded with a creatively conceived, expertly prepared production that is a real crowd-pleaser in its balance of black comedy and sinister horror. 

An undisputed masterpiece from composer / lyricist Stephen Sondheim and book writer Hugh Wheeler, Sweeney Todd needs little or no help in regard to conceptual staging. With this in mind, it is pleasing to note that director Benjamin Samuel has crafted a well-judged blend of traditional staging and unique elements that successfully sets the production apart. 

Focusing both upon the industrial-era setting and the introductory lyrics about London, Samuel and his creative team combine period-style sets and costumes with heightened choreography and ghoulish headscarves. 

Wearing handsome costumes designed by by Jessamine Moffett, the ensemble members play regular townsfolk in scenes such as “Pirelli’s Miracle Elixir” and “God, That’s Good!”, but for the background vocals including the many reprises of “The Ballad of Sweeney Todd,” they turn into spectral figures with burgundy scarves draped over their heads, obscuring their faces. 

More prevalent than usual, the sharp choreography of Skylar Delphinus sees the ensemble perform tight, angular moves that suggest cogs in motion. Although the inclusion of two dancers representing birds in “Green Finch and Linnet Bird” is somewhat misjudged, the machine-like choreography of the ensemble is cleverly conceived and gives the performance a fresh, lively energy. 

Moffett also delivers a terrific set of costumes for the lead characters, with highlights including the yellow and red jester look for Pirelli and the change from grayscale to vivid shades of red for Mrs Lovett and Sweeney Todd to reflect their new prosperity as act two begins.

The set design of Harry Gill is on a very impressive scale for both the size of the venue and the length of the season. On a very solid dual-level set, Gill has conjured stairways, arches, trap doors, and more, giving the staging a strong sense of polish and supporting the storytelling with easy creation of simultaneous scenes in multiple locations. Lighting design by Sidney Younger effectively draws the eye to these scenes, also adding significant spooky atmosphere, particularly in the use of saturated red. 

The barber’s chair provided by Gill is perfect, and although there is no slide down to the bakehouse, this is creatively covered with the victim being draped in one of the burgundy headscarves to exit the stage and appear below at the bakehouse grate, if required.

Given the fiendish level of difficulty of the score of Sweeney Todd, full credit to Jack Barnard for his meticulous musical direction. Barnard has achieved a complementary high level of quality for both the instrumental and vocal performances, which are perfectly synchronised despite the band and Barnard’s position being under the seating bank. Sound design by Thanu Moulton is crisp and well balanced, with Sondheim’s intricate lyrics and fascinating harmonies clearly heard. 

Many of the lead roles of Sweeney Todd could be described as iconic, and Samuel has had the good fortune of attracting a very talented and committed set of performers to play these roles in this production. Samuel’s direction leans into the early humour of the piece with amusing results before nimbly switching gears for the darker developments. The success of the performance may well be judged by the quiet, rapt attention of the audience all the way through to the chilling climax. 

At the heart of the success of the performance is the stellar work of Aidan Niarros as Sweeney Todd. A gifted baritone with terrific dynamic control of his vocals, Niarros particularly impresses in his unflinching maintenance of Sweeney’s unrelenting inner drive. Despite the man’s devilish acts, Niarros has the audience on Sweeney’s side all the way, significantly boosting the stakes of the gruesome finale. 

Kate Yaxley contrasts Niarros’ inner focus for Sweeney with a extroverted, vivacious portrayal of grisly baker Mrs Lovett. In a well physicalised performance, Yaxley often commands the stage and earns plenty of laughs along the way. 

Brendan Matthews takes young ragamuffin Tobias on a compelling journey from cheery spruiker to darkly tormented youth with an inner demon all of his own. 

Ashley Garner brings a charmingly warm vocal tone to Anthony, singing the gorgeous “Johanna” with flair. Annabelle Rosewarne completely immerses herself in the twittering mania of poor Johanna, her pure soprano a pleasure to hear in “Green Finch and Linnet Bird.”

Amy McMillan characterises the bedraggled Beggar Woman with a relentless drive, deliberately infusing a somewhat grating tone to her plaintive cries of “Alms, alms!”. 

Christian Gillett does not shy from the darkest impulses of sinister Judge Turpin, gamely enacting the man’s frenzied self indulgence during “Johanna (Mea Culpa)”. Gillett’s rich sonorous bass is a wonderfully impactful aspect of his performance of this malevolent character. Daniel Hillman gives solid support as Beadle Bamford, tending a little too strongly towards the comedy of the role and yet proving a good counterbalance for the darkness of the Judge. 

Teddy Burgess rounds out the lead cast as Pirelli, bringing winking humour to the role, underpinned by the flamboyant man’s self-focused drive. 

For those fortunate enough to secure tickets, Sweeney Todd is set to entertain and inspire theatrical discussion. Future seasons from Soundworks Productions are eagerly anticipated. 

Sweeney Todd plays at Chapel Off Chapel, Prahran until 23 September 2026. For tickets, click here.

Photos: Matthew Chen