Delicious slice of theatrical pie

04 May 2006

Thistles served up a delicious slice of theatrical pie at the Kenneth More Theatre last week with an extremely professional production of the Sondheim thriller musical, Sweeney Todd.

Directed with style by the talented Steve Liversedge and accompanied by a group of finely-tuned musicians under Daniel Tomkins' baton, this was the demon barber at his best.

With its split-second timing, complicated set and often dissonant tunes, Sweeney Todd is no small dramatic challenge, but the Thistles cast proved to be more that capable of meeting it.

Chris Wilson's Todd was more understated than others I have seen, but all the more malevolent for his quiet, glowering mien - you could almost touch the wickedness. And yet Chris allowed us to feel sympathy for his character and what he has suffered. This combination of the human and the hateful was very powerful.

Chris was ably accompanied by Elaine Gilbey as an energetic, scheming Mrs Lovett. Elaine was on excellent form, and her Lovett was all rolling eyes and charm, a dissembler of the first order who cares for nothing but her own ends.

I loved her rendition, with Todd, of A Little Priest, in which she fantasises about the kinds of people you can put in pies.

Matthew Brown has matured beautifully, and so have his voice and his acting skills.

He was confident and compelling as Tobias Ragg, a boy taken in by Lovett, with whom he sings the moving duet, Not While I'm Around.

I enjoyed Gary Hallam's portrayal of the well-meaning sailor Anthony Hope - Gary has an excellent, beautifully modulated voice and knows how to use it. And Claire Taylor made a sweet, engaging Johanna, one of the few dashes of goodness and beauty in an otherwise dark piece.

Dave Bennett was a gnarled and black-hearted Judge Turpin and, in another convincing performance, Marilyn Dennant as the beggar woman, reminded us of the evil being perpetrated before us (before meeting a nasty end).

Frazer Freeman made an excellent beadle, sharp and witty and very good with a harmonium and Mick Wilson, another strong singer, was terrific as the flouncing Signor Pirelli.

Keith Harman, Ian Wallington, Ray Ward, Marion Asby, Kevin Campbell, Keith Harman, Sue Ridge and Ray Ward contributed their considerable vocal talents as the Greek-style choruses.

Stylishly lit by Bev Ransom and Rob Mitchell-Gears, this production had a good, if slightly rickety, revolving set and was carefully and beautifully dressed. A tour de force.

- SUE LEEMAN