New Zealand Opera’s take on Sweeney Todd cuts to the core of the genius of Stephen Sondheim – embracing both the light and shade, grotesque and beautiful – a balance as delicate as the closest shave.

Director Stuart Maunder has done an admirable job in allowing the company to embrace the music hall elements of Sondheim’s score, while still offering the opera-loving punter a more classical interpretation of the work.

Staging choices are at times reminiscent of a comedic pantomime opera, but the show doesn’t shrink back from the foreboding and disturbing aspects of the material that make the audience wince and catch its breath.

From the moment the curtains open, the horror of the back streets of Victorian London is evident in the ghoulish pale faces, reddened eyes and shadowy sets.

The company’s intensity during the opening Ballad of Sweeney Todd sets the tone and introduces us to the psychopathic barber bent on revenge.

Despite the obvious horror of the murderous premise, the cast does an excellent job to bring out the very best in Sondheim’s humour and masterful lyrics.

As Sweeney Todd, Teddy Tahu Rhodes wouldn’t look out of place as a thug from a Guy Ritchie gangster film. His growling speaking voice makes him for almost beast-like in his quest for revenge. While lyrics at times get a little lost in the operatic style of his vocal interpretation, his measured intensity builds enough to portray the escalating turmoil throughout the show.

As likeable but equally deranged pie-shop owner Mrs Lovett, soprano Antoinette Halloran delivers a saucy and convincing performance, combining subtlety with bawdiness to leave the audience in no doubt of both her devotion to “Mr T”.

The chemistry and balance between the two leads is at its best in the Act One closer – A Little Priest – which provides just the right comic relief to ease the audience into the horrors of the second act.

The supporting roles are equally sincere in their interpretations – Joel Granger as Tobias is innocent and earnest as he sings “Not While I’m Around”, while the two young lovers Johanna (Amelia Berry) and Anthony (James Benjamin Rodgers) find a comic balance as they plan an escape while grappling with the absurdities of their secret love.

Rival barber Pirelli (Robert Tucker) boasts a flavour of a spoof Italian opera star - an appropriate and effective interpretation given the company’s talent and repertoire.

While the incomparable Helen Medlyn turns the often underwhelming beggar woman into a highlight of the show – never missing a beat between her mournful wailing that foreshadows the show’s conclusion, and her quick-witted but vulgar propositions that have the audience in stitches from her first entrance.

It's nice to see New Zealand Opera opening its doors to Sondheim - a great way to make opera accessible by broadening its offering to include music theatre.

Seems a downright shame the show’s only in Auckland until Saturday, but Wellington and Christchurch audiences will be invited to visit Fleet Street from September 30.