By Abel Searor
Contributing Writer
Syracuse opera patrons and performers flouted warnings of an impending mid-winter storm in favor of opening night of Stephen Sondheim’s “Sweeney Todd,” staged at Carrier Theater. While Syracuse Opera’s first venture into Sondheim had many high points, the omission of certain plot elements somewhat obscured the storyline, resulting in a cloudy story arc.
Making his Syracuse Opera debut, Kyle Albertson was a convincing Sweeney, with a rich, full baritone voice that soared on “My Friends” and “Pretty Women.” Albertson’s expressive face was well suited to the comedic duet “A Little Priest” that he shared with the equally humorous Jennifer Roderer in the role of Mrs. Lovett. Albertson successfully conveyed the evolution of Sweeney—returned after having been falsely imprisoned—from his quest for personal vengeance to his grisly descent into madness. The final scene between Todd and Lovett was terrifying.
Roderer effectively walked the line between nurturing and nasty as Mrs. Lovett. Her full-bodied mezzo-soprano was well suited to “Wait” and “By the Sea.” Regrettably, however, her voice was often covered by the onstage orchestra in more conversational numbers, such as “Poor Thing.” This problem with balance between instrumentalists and vocalists was an issue with other singers as well. Angela Theis, as Johanna, was nearly inaudible, though stunning when she could be heard.
Resident artists Jonathan Christopher and Christopher Frisco, as Anthony and the Beadle, brightened the stage with their performances. Christopher’s heroic Anthony was well matched with the innocent Johanna (Theis). Mellise Weber handled the macabre yet comedic role of the Beggar Woman with great flare, darting in and out of the audience numerous times. Local tenor Jonathan Howell gave an excellent performance as Pirelli. Never shying away from high notes, he fully embodied the role—though perhaps not the oversized, cartoonish costume.
Michael Kuhn was well suited for the role of Tobias and navigated his way through the treacherous patter of “Pirelli’s Miracle Elixir” masterfully. His performance of “Not While I’m Around” had moments of tenderness that occasionally shone brilliantly. Jamie Offenbach’s performance as the lecherous Judge Turpin delivered a reading of “Pretty Women” that was effective in making one’s skin crawl. Though his diction was occasionally difficult to decipher, he gave a thoroughly convincing performance.
Stage Director Patricia Weinmann made excellent use of the space at several points. Anthony, the Beggar Woman and members of the ensemble entered and exited through the aisles, capitalizing on the intimate character of the Carrier Theatre. The venue has its pitfalls, however, with Johanna’s balcony being almost obscured by monitors and light bars. One particular chorus entrance could be heard but, unintentionally, not seen.
The set and lighting of this production is minimal, with large moving platforms serving as the double-decker pie shop/tonsorial parlor. Projections depicting London cityscapes serve as an unobtrusive backdrop to the action. The omission of an oven and working barber chair, essential elements in the gory tale, is an regrettable oversight; they are sorely missed.
A highlight of the premiere performance was the Syracuse Opera chorus. This ensemble-heavy show empowers the chorus to shine in the full-cast numbers and the select ensemble passages. “The Ballad of Sweeney Todd” is replete with solos, which were expertly performed by various vocalists. They were well supported by the ten-piece orchestra, under the direction of Brian Demaris.
Syracuse Opera’s rather “safe” production of “Sweeney Todd: The Demon Barber of Fleet Street” was received warmly by a stalwart crowd that defied Nemo’s threats in favor of a chance to enjoy vicarious murder, mayhem and music. The audience rewarded the artists with enthusiastic applause in appreciation of a good measure of solid singing and a story calculated to make each of us examine “the Sweeney that lurks inside.”
THE DETAILS
WHAT: "Sweeney Todd," Syracuse Opera production. Stage direction by Patricia Weinmann and music conducted by Brian DeMaris. Sung in English.
WHEN: 2 p.m. Sunday (Limited seating.). 7:30 p.m. Tuesday and Wednesday and 8 p.m. Feb. 15 and 2 p.m. Feb. 17 (Limited seating).
WHERE: Carrier Theater, John H. Mulroy Civic Center, 411 Montgomery St., Syracuse.
TICKETS: $40 to $70. To order, call 476-7372 or go the Syracuse Opera website. Call the box office for performances with limited seating.
FAMILY GUIDE: Production includes some adult language and situations.