Anargha Pal and Peyton Kern Photo by Mark Lyons

Sweeney Todd tells the Victorian tale of a barber (Sweeney Todd) who returns to England after years of being imprisoned on false charges by a pious judge who lusted after the barber's wife. Todd soon learns that his wife poisoned herself out of shame after being raped by the wretched official and that the judge adopted Sweeney's baby daughter as his own. Todd's thoughts now dwell only of revenge. He's assisted by Mrs. Lovett, who runs the meat pie shop below Todd's old barber shop. While awaiting the opportunity to exact vengeance on the judge, Sweeney descends into madness and decides to "practice" on customers who come in for a shave, by slitting their throats. Even more perverse, Mrs. Lovett uses the newly available "supplies" for filling her meat pies.

Wheeler's book is based on an adaptation of the story by Christopher Bond. The show incorporates narration (e.g. the multiple versions of "The Ballad of Sweeney Todd" and "The Barber and His Wife"), melodrama at its best, nuanced foreshadowing, farce, and numerous other storytelling devices with great skill. Since Sweeney Todd is a mostly sung piece, it's somewhat difficult to tell where Mr. Wheeler's work ends and Sondheim's begins, but the end result is thrilling theatre.

Without a doubt, Stephen Sondheim was America's premiere theatre composer/lyricist of the last sixty years, and Sweeney Todd is considered by some (such as this writer) to be his masterpiece. The score contains character-specific musical motifs and a variety of styles, such as British music hall ditties, operatic "want" songs, soaring ballads, an emotionally charged "Epiphany," and story-songs providing character backstories. The lyrics are typical Sondheim: intelligent, witty, dense, and full of multiple meanings and subtext. The score provides the necessary mysterious and angst-ridden atmosphere and tension. Highlights include "My Friends" (a love song by Sweeney to his razor blades), "A Little Priest," "Pretty Women," and "Not While I'm Around." The score and book are at their best in the act two song, "Johanna" (one of three very different songs with that same title!), in which Sweeney sings a beautiful ballad about missing his daughter while at the same time murdering customers, thus creating a spectacularly contrasting juxtaposition of theatrical genius.

At CCM, Vincent DeGeorge provided bold direction with unique blocking and character interactions, smooth scene transitions, and visually captivating stage pictures. The appropriately dark tone of the piece was intact, but also with the humorous parts landing well. DeGeorge used the ensemble inventively. There were a few spots where the staging of scenes could have provided additional clarity to the storytelling, but overall, his work was magnificent. The limited choreography by Brandon Kelly was well-suited to the material. Ian Axness led a splendid-sounding 52-piece orchestra. Local long-time theatre critic Rick Pender, author of the book "Stephen Sondheim's Sweeney Todd: Behind the Bloody Musical Masterpiece," served as dramaturg on this production.

Four of the roles in this production were double-cast, with one set featuring Musical Theater (MT) students as Sweeney and Mrs. Lovett and Opera (O) students as Johanna and Anthony, and the other with students from the opposite programs in those roles. At the performance reviewed, Anargha Pal (MT) was an intense, brooding Sweeney and supplied luscious baritone vocals to great effect. Peyton Kern (MT) was endearing and flighty as Mrs. Lovett, and allowed the comedic moments to flow from the character organically. Her "By The Sea" was delightful, and she turned in the most impressive performance of this cast. Jack Hicks (O) as Anthony and Zoë Meier-Juhlin (O) as Johanna captured the youthful exuberance of the characters and showed off strong, formal vocals.

J. Perry (MT) was an earnest and touching Tobias, and Chloe Lezotte (MT) demonstrated remarkable acting as The Beggar Woman. Cameron Howard (O) as Pirelli was outstanding vocally and showed versatility in this acting. Jack Keller (MT) was a fun and eccentric Beadle, while Will Ryan (O) was an aptly pompous and creepy Judge Turpin, and both sang their roles very well. The entire supporting cast and ensemble are likewise deserving of praise.

Mark Halpin's immense three-story set featured elements capturing the dirty London of the industrial revolution and several interesting smaller pieces as well. The varied lighting by Jules Cabrera included shadows cast onto the enormous back wall, subtle candle effects, and the stage engulfed in blood-red at the appropriate times. The costumes by CJ Kelly accurately conveyed the characters, with Pirelli's grand outfit and Mrs. Lovett's Act 2 upgrade dress being especially noteworthy in their beauty.

Sweeney Todd is a challenging show to mount, but with the resources of three of CCM's top programs converging and collaborating, it was a resounding success–one of the finest shows at CCM in the last quarter-century.

Sweeney Todd played from April 15–19, 2026, at Cincinnati College-Conservatory of Music, Patricia Corbett Auditorium, 290 CCM Blvd, Cincinnati OH. For tickets and information for upcoming events, call 513-556-4183 or visit https://ccmonstage.universitytickets.com/w/?cid=168.