Opera Maine's Sweeney Todd: A Cut Above

For its 30th anniversary, Opera Maine broke new ground with a theatrically compelling, musically excellent production of Sondheim's Sweeney Todd. Guided by Artistic Director, Dona D. Vaughn, a superb cast moved thrillingly across the original 1980 tour sets (created for Angela Lansbury and George Hearn) offering cinematic sweep and operatic force. The audience responded throughout with audible gasps, laughter and long ovations punctuated by cheers. 

Commanding in voice and presence, Michael Mayes' Sweeney went from quiet brooding to malevolent rage with turn-on-a-dime precision. His revenge-obsessed barber reached fever pitch in a chilling Epiphany that stopped the show. As his partner-in-crime, Mela Sarajane Dailey's beautifully sung Mrs. Lovett, balanced Sweeney's darkness with impeccable comic timing, in a performance far more delicious than her legendary pies. 

As the Beggar Woman, Megan Marino drew uncomfortable laughter while simultaneously breaking our hearts. Todd's concluding explosion of grief was among the most wrenching I've seen. It was no surprise to learn Marino and Mayes are married in real life, adding a palpable frisson as he threw himself across her ragged, lifeless body.

Portraying the young lovers was yet another married couple; Michael Adams and Mary Feminear. They were a delight. Feminear easily sailed through Johanna's highflying music, while Adams' plush baritone added a welcome richness to Anthony, his big number, Johanna, bringing down the house. 

Oozing equal amounts of pomposity and sleaze, David Pittsinger and Nicholas Nestorak were perfectly despicable as Judge Turpin and Beadle Bamford, and made the quartet with Anthony and Johanna a highlight. 

As Adolfo Pirelli, Maxwell Levy was clearly having a grand time, hamming up every moment as the elixir selling faux Italian barber, with comically endless high notes adding to the fun.

David Marino’s touching voice and presence won all hearts as the simple Toby, his duet with Mrs. Lovet, Not While I'm Around, easily the most touching moment of the show. 

Sweeney, for me, recalls Britten's Peter Grimes - each relying heavily on its chorus to provide not only suitably grim Victorian atmosphere, but to move their stories forward. Opera Maine's Chorus delivered spectacularly, with two notable stand outs:  God, That's Good, where tricky rhythms and amusing word play garnered laughs, then, in City on Fire setting up the brutal, final sequence. Few directors move people across a stage as convincingly as Vaughn, and in Sweeney we were treated to some of the finest work in her thirty years of leading this company.

Conducting with precision and elan, Israel Gursky brought Sweeney's assorted motifs and themes to life, creating an atmospheric soundscape that perfectly matched what we saw onstage.  His broader tempo for My Friends evoked Debussy, adding even more layers to Sondheim's sophisticated score. I can't recall it more beautifully sung or played.

James Kennerley’s playing of the show’s ominous organ music on the mighty Kotzschmar, was an unexpected treat, and a deafening roar went up from the house as the backdrop of London lifted revealing organ and organist. No one seemed to want to leave. I certainly didn't.

(Photos from Opera Maine)