STUDENT THEATRE REVIEW: Sweeney Todd, The Demon Barber Of Fleet Street - The Academy Theatre, Co-op Academy North Manchester.

 

I honestly do not understand many theatregoers' reticence of wanting to watch young people perform. First and perhaps most importantly, these are the stars of the future, the ones we need to support and nurture. Our industry is precarious enough as it is, and so it is our duty to encourage youngsters to take the ultimate leap of faith and try their hand in the profession. Second, these productions are always raw, full of energy, and a desire to please that only young people can muster; in short there is an abundance of creativity which, in the right hands, can be moulded and channelled into something really quite wonderful. And third, if one and two have not already persuaded you, these productions are often surprisingly good, sometimes even better than the tired and well-worn carbon-copy representations we see from the professionals.

Having already seen several shows from the students at this comprehensive (11 - 18 ) school in Moston, North Manchester, as well as being privileged enough to have witnessed their first Greater Manchester Co-op School collaboration two years' ago (Les Miserables), I was in high spirits and had high hopes for this evening's production of one of the most notoriously difficult scores in the history of Musical Theatre, Stephen Sondheim's darkly comedic Victorian horror, 'Sweeney Todd, The Demon Barber Of Fleet Street'. Let me put it in writing here and now, I was in no way disappointed, in fact I was highly delighted and felt once again highly privileged to have watched a show that was in so many ways, far beyond the capabilities and knowledge of those performing it, and yet, I was awestruck from the  outset at just how well they tackled this incredibly complex piece of theatre. Their maturity, their cumulative abilities and sheer enthusiasm carried this show from sinister start to gruesome finish with elan and panache.

Upon entering the auditorium one knew immediately that this was going to be something special. An open set of staircases, upper level room and balcony, pie shop to the side and plenty of ominous red lighting and eerie sound effects to make the hair on the back of your neck react despite the perishing heat of this early Summer evening. A live band across but below the apron comprising professional musicians under the baton of Matthew Asher undoubtedly gave the young company a huge lift and a desire to perform the songs to their best ability - which they did not falter in throughout. Many of the songs were taken a tad slower than normal, but this too only helped them to both get all the words out but to interpret them correctly too, giving due meaning and weight where required. In fact, every student on stage from the lowliest "spear carrier" to Todd himself, all had a very clear understanding of their character, their role within the whole, and the arc of the storyline; meaning that this became a true ensemble production and for performers of that age, this was indeed humbling to watch.

And going back to the set just for one second. I have to say that I have seen this show many times over the years, and this set design (Steven Brice and Philip Hindle) was one of the cleverest, slickest, and most interesting I have seen ever. I especially enjoyed the image of Sweeney walking out of Hell at both the start and finish, and  the shadow "puppetry" of the ball scene. This, along with a creative and well-designed lighting plot, made for a visually stimulating experience. 

And now to the acting; which, as I have already stated, was solid, intelligent and well-crafted from all, despite their young ages. Bradley Thompson (Judge Turpin), Joshua Kirkham (the Beadle), Thomas Wood (Mr Fogg), and Ellie Hardman (a birdseller), are all deserving of praise; whilst more prominent roles were taken by Cianna Jarvis (Joanna), Jenson Jones (Anthony), Harry Allen (Adolfo Pirelli), and Tobias Brown (Tobias), all gave lovely renditions of their roles. Daisy Allen's Beggarwoman was excellently measured and she gave a most mature rendition of this sometimes overlooked role. Michael Yakubu's interpretation of Sweeney Todd was morose, thoughtful, vengeful, but also human, and we watched with horror as his singular desire of revenge turned into a irreversible downward spiral. My most often comment on the character of Todd is that he starts the show too singular-minded and determined and so has nowhere for his character and emotion to travel - not here, and so I take my metaphorical hat off to this young man. But it was the complete and fully nuanced performance of Amy Bent as Mrs Lovett which truly made me sit up and beg. Speaking to one of the band members in the interval, I was informed (and I quote verbatim), "if she doesn't go into the profession it will be a real waste" - and I have to admit, I concur. Her understanding of and performance of the role was expertly crafted. Admittedly vocally, the score was beyond the capabilities of all the voices, and so we made allowances for this, and I feel sure that in a few years' time, many of those on stage this evening will have beautifully formed voices of which they will rightly be proud. 

It is terribly difficult to write a review when there is nothing to criticise - and of course, there were things this evening which on a personal level I would have done differently or that didn't work perhaps as well as they could have done, but when everything else was so brilliant, and the effort, energy and commitment of all involved was so great, it would be churlish and peevish to mention them.

Bravissimi tutti, and here's to the next 10-school collaboration!

Reviewer - Alastair Zyggu
on - 10.7.25