Theatre Review: Sweeney Sparkles at NJPAC
Westfield based NJYT delights packed house with Sweeney Todd.
By Lauren McCarthy |
July 27, 2009

The New Jersey Youth Theatre’s production of "Sweeney Todd" runs at the New Jersey Performing Arts Center from July 17 to 26. On Friday evening the house was just about full and the audience was loving every comical and crafty moment.

The set was a perfect platform for the high-caliber actors and actresses to depict the haunting, sinister, and tragic story of Sweeney Todd. The costumes and makeup added to the demonic atmosphere, and Stephen Sondheim’s music and lyrics captured the tortured lives of the characters.

The characters were appropriately cast, as each personality was played with vibrancy and vigor. Standout performances were given by Kevin Melendez, as the barber Sweeney Todd (Benjamin Barker), Stephen Mir, as Anthony the sailor, Jaclyn Ingoglia, as Mrs. Nellie Lovett, and Eryn LeCroy, as Johanna.

Even though the "human meat pies" and deadly barber visits were large parts of the show, the most integral element was that the characters’ actions were driven by grief, revenge, and intense frustration.

The melodramatic content was expertly conveyed, as Melendez brought out Todd’s inner anguish about Lucy and Johanna. One of the most powerful scenes was when Todd realized he had killed Lucy, and not an unknown beggar.

Ingoglia’s portrayal of Mrs. Nellie Lovett garnered many laughs from the audience, and her black comedy was done with expert timing. Adding many lighter moments to the show, Ingoglia switched from darkly comedic to compelling in seconds.

LeCroy showcased the innocence and experience of Johanna beautifully. The third scene of the first act, where she sang “Green Finch and Linnet Bird” was ironic, as she was the ultimate prisoner.

Mir let Anthony’s youth yet admirable drive shine through as he sought after Johanna the entire time. The chemistry between LeCroy and Mir made the scenes really come to life.

From the first scene, the power and haunting quality of the show instantly captured the audience. The use of red lighting and a red backdrop to explain the misfortune of Lucy and all the ill-fated barber visits was a great effect that allowed the material to accommodate families while also getting the subject matter across. The illusion of the barber chair and slide into the furnace, along with the scream effect, was brilliant and expertly done by the performers.

The beginning of Sweeney Todd’s realization of his potential revenge through being a barber was sinister and sympathetic at the same time. In the end of scene two, the line “you will drip precious rubies,” in reference to the shaving implement, was amazingly delivered. The beginning of Mrs. Lovett’s attraction and attachment to Todd was seen during the song “My Friends,” and they become more team-like as they realize the economic and egotistical boost their businesses receive.

As each scene progressed, it was increasingly evident that the characters were tortured souls struggling with grief and circumstance; this evoked both sympathy and criticism for their actions. The moments of lightness included hysterical instances of black comedy, and one of the best moments of that was when Mrs. Lovett exclaimed: “well, that’s a different matter!” in reference to Todd’s sheering of Pirelli on account of his attempt at blackmail and theft of Todd’s earnings. Lovett was often the voice of reason and humor, which worked well next to Todd’s intensity.

A large element of the show had funny yet grotesque moments, and that is what gave depth to the production. The outlandish quality of Lovett throwing human limbs and bones into the furnace thrilled the audience, yet made one eventually realize the severity of the situation.

The song “By the Sea” in the third scene of act two regained some sense of normalcy between Lovett and Todd, and let the audience look at them as regular people, instead of murderous villains.

Carey Gsell’s portrayal of Tobias was quite powerful at the end, as the character was deeply disturbed by what happened to his honorary mother. Gsell commanded the stage well and delivered the twisted lines superbly.

The production was directed by Cynthia Meryl with music direction from Ilene Greenbaum, assistant direction and choreography by Sherry Alban, scenic design by Mark Nayden, costume design by Aaron Mastin, lighting design by Alexander Fogel and sound design by Michael Sinclair.

The overall command of the material and stage presence of the entire cast was remarkable, and well deserving of the rousing standing ovation at the end. The talent of the entire cast allowed Sweeney Todd to be as professional and enjoyable as a Broadway production.