Horrorshow Theatre has raised the theatrical bar even further to an exceptionally high standard with their production of Stephen Sondheim’s Sweeney Todd.
While it’s considered one of Sondheim’s darkest and most incredible musicals, it’s notoriously challenging for a community theatre: the music is intricate, the vocal demands are intense, and the dark story requires a delicate balance to maintain tension without tipping into melodrama.
For an amateur cast to pull off this show at a high level is impressive. Horrowshow did that big time.
This gothic tale of revenge, obsession, and the destructive power of vengeance blends horror with dark humour. Benjamin Barker (a solid Thomas Fournier), a barber wrongfully exiled for 15 years by the corrupt Judge Turpin (Scott Moore), returns to Victorian London under the name Sweeney Todd. Consumed by grief and a thirst for revenge, Todd sets up a barber shop above Mrs. Lovett’s (the hilariously scene-stealing Mari MacDonald) struggling pie shop, intent on murdering the Judge.
Mrs. Lovett, who has long harboured secret feelings for Todd, persuades him to act on his vengeance. Together, they hatch a grimly ingenious plan: Todd will kill his unsuspecting customers, and Mrs. Lovett will turn their bodies into meat pies, transforming her failing business into a wildly successful enterprise.
Meanwhile, Todd’s daughter Johanna (the radiant Michelle Chew) remains under the Judge’s control, while the lovesick sailor Anthony (a doting Nolan Rush) attempts a daring rescue. As Todd’s murderous spree escalates, his obsession blinds him to morality, justice, and the human cost of his revenge. The story races toward a tragic climax, a darkly compelling exploration of how vengeance can consume and destroy.
Director/Producers Jack Phoenix and Reba Pyrah bring tremendous talent, incredible vision and meticulous planning to this extraordinary production. The intentional pace, adept staging and musicality all speak volumes to their skills as directors and producers. What’s most impressive is how the production’s artistry shines through despite a small budget, meaning every choice is thoughtfully considered. Everything in this show has purpose.
A haunting 45-minute prelude of classical music sets the stage, with solo cellist Kieran Prouty under a harsh spotlight, weaving mournful strains through the orchestra’s staccato strings. His tattered Bedlam-inspired costume and lamenting music plunge the audience into a world of madness and foreboding, a haunting harbinger of the grisly events to come.
Luka Thurlbeck’s simple and functional black box set is built around two staircases that rise to a wide upper level. On the stage between them, a set of imposing double doors provides opportunities for dramatic entrances and exits—and cleverly doubles as the ominous ovens beneath Mrs. Lovett’s pie shop. The large ensemble moves fluidly through the outer edges of the structure and through the house, giving the production a sense of constant motion and the overcrowded, soot-filled London streets.
Space is never wasted.
Mrs. Lovett’s pie shop serves as the primary setting, with Sweeney’s barber shop perched high above at the top of the stairs. The cast handles all scene changes themselves, briskly and seamlessly shifting furniture and props without ever breaking the momentum.
The on-stage orchestra is split between walls—strings and drums lining the right, horns and keyboard on the left—and the sound produced by this young ensemble under the expert baton of musical director Adam Rosenfield is nothing short of spectacular.
Costumes and makeup by Hannah Dulong capture the grim, gritty essence of the Victorian era with admirable detail. The fabrics and colours—dark, worn, and richly textured—reinforce themes of poverty, corruption, high society’s rot, and the era’s pervasive moral decay. From the Judge’s impeccable Victorian morning suit to Pirelli’s flamboyant tails and vibrant trousers, from Johanna’s off-the-shoulder flowing frocks to Mrs. Lovett’s earthy layered skirt, apron, and frilled details, every costume reflects thoughtful craftsmanship. Even the Beggar Woman and the asylum inmates, clad in tattered rags and mismatched layers, effectively evoke poverty and filth. At the same time, Anthony’s soft blue sailor attire offers a clean, hopeful contrast to Sweeney’s brooding blacks, golds, and greys.
A touch more flour—or perhaps something more sinister—on Mrs. Lovett’s apron would have enhanced her look. Curiously, the Beadle alone appears in contemporary trousers and overcoat. Makeup tends to be too subtle; with such muted, weathered costuming, dirtier, more lived-in faces would have completed the picture. Even Mrs. Lovett’s complexion is far too lovely for someone sweating over a pie shop oven.
Emrik Burrows and his team provide a strong assortment of well-built, large props. Mrs. Lovett’s pie counter is exceptionally charming, lovingly detailed with a cutting board, rolling pin, dusty pies, and worn book covers. I did find myself wishing for a small table to accompany the solitary chair in her shop, however. The “slightly scorched” organ in her parlour is another delightful touch.
The biggest marvel is undoubtedly Sweeney’s killing chair. Resembling a 19th-century barber chair, it rotates and collapses—seat and footrest dropping suddenly—after Todd slices a victim’s throat, sending the body down a chute below the floor. It’s an iconic and essential prop, and they absolutely nailed it. Less successful is the absence of birds in the cages for Anthony and Johanna to admire—nothing at all, not even rubber stand-ins. The actors were forced to mime their presence, which briefly pulled me out of the world of the story.
Lighting design by Connor Price-Kelleher amplifies the show’s brooding darkness through a deft interplay of shadow and light. Deep shadows and sharply directional beams, enhanced by moody ambers and icy blues, evoke intense emotion throughout. His stark white spotlights on Sweeney and Toby heighten their isolation and psychological unravelling, while sudden blackouts punctuate moments of tension. Splashes of blood-red lighting during the killings suggest far more gore than is ever shown. Moving gobos during ensemble numbers add movement and depth to the stage picture, and the fog and haze effects during “City on Fire” deepen the sense of chaos and danger.
Jack Phoenix’s sound design is practical but ultimately underutilized. A terrific asylum soundscape is heard at the beginning and end of the show, but additional effects—London’s wharf, bustling city streets, or the low roar of oven fires—would enrich the world further.
Unfortunately, this opening-night performance struggled with sketchy body mics and occasional feedback. I’m certain these technical issues will be smoothed out soon enough.
Choreographer (and stage manager!) Mai Leuning does an admirable job furthering the director’s vision, conveying the narrative not through dance but through clean, sharp, and inventive ensemble movement that is deeply character-driven. The fact that she is performing double duty as stage manager makes her work here even more impressive.
What truly makes this production special is the strength of its key players. As Sweeney, Thomas Fournier is commanding and focused, delivering a powerful baritone. His transformation from vengeful convict to murderous madman is chillingly authentic. Mari MacDonald as Mrs. Lovett steals every scene she’s in, with impeccable comedic timing, a flawless Cockney accent, and a dynamic singing voice. She’s one to watch in the world of musical theatre.
My only quibble with these two outstanding talents is that they feel just a bit too young for their roles. Sweeney is a man who once had a wife and daughter many years before the events of the play, yet Fournier’s first appearance—with his ramrod posture, impeccably trimmed beard and smooth skin—belies someone who has endured 15 years doing hard labour in exile, plotting revenge. Mrs. Lovett also knew Sweeney those many years ago, but MacDonald’s youthful exuberance and fresh, flawless complexion make it hard to believe she has spent years working her fingers to the bone running a struggling pie shop.
Other fine performances include Michelle Chew as Johanna and Nolan Rush as Anthony. They share a beautiful chemistry while Avi Petliar delivers a spot-on portrayal of Toby, the naïve apprentice, with excellent singing and acting. Scott Moore and Nicholas Paolone make the audience squirm as the corrupt, lecherous duo Judge Turpin and Beadle Bamford. Janek Gonsalkorale excels as the flashy fraud Pirelli, capturing the character’s opportunistic humour through flashy costumes, fake Italian accent, and strong vocals.
The ensemble is outstanding, investing fully in each supporting role from asylum inmates to townspeople. Individually, their voices impress, and chorally, they send shivers down the spine. Every member contributes to a vivid, immersive world.
Overall, this production is a triumph of casting, musicality, and dramatic storytelling. The leads’ slightly youthful appearances are a minor quibble against an otherwise flawless presentation. With powerhouse performances, a committed ensemble, and a keen understanding of the dark humour and tragedy at the heart of the musical, this production firmly establishes itself as a standout interpretation of Stephen Sondheim’s classic.
Please, attend this tale before December 14.
FINAL COMMENT: Horrorshow Productions is a community theatre company committed to elevating the standards of local community theatre, consistently striving for quality and professionalism. This trailblazing group has unfailingly demonstrated what can be achieved at a non-professional level—with limited funds and resources – but a lot of unwavering dedication to talent, storytelling, and production values. Their work is a testament to the power of passion and creativity, delivering performances that leave a lasting impression and set a benchmark for other community theatres to emulate.
Running time: approx. 3 hours with one intermission.
The production runs until December 14 at the Alumnae Theatre 70 Berkeley St. Toronto.
For tickets, call the Box Office at 1-414-364-4170 or email https://www.horrorshowproductions.com/
Horrowshow Productions Presents “Sweeney Todd – The Demon Barber of Fleet Street” at the Alumnae Theatre
Produced and Directed by Jack Phoenix and Reba Pyrah
Choreographed and Stage Managed by Mai Luening
Music Direction by Adam Rosenfield
Wardrobe/costuming by Hannah Dulong
Set design by Luka Thurlbeck
Props by Emrik Burrows
Lighting designed by Connor Price-Kelleher
Performers: Thomas Fournier, Mari MacDonald, Nolan Rush, Michelle Chew, Avi Petliar, plus other local community artists in the ensemble.
