Although this is tagged under “Movie Reviews”, this is my personal thought on the stage version done by Repertory Philippines
Sweeney Todd… The Demon Barber of Fleet Street… The character made memorable by Johnny Depp’s on-screen portrayal. Johnny Depp’s performance would definitely be difficult to match, and even tougher to top. Unfortunately, as far as a side by side comparison, this is what I had to match Repertory Philippines’ interpretation with.
I don’t think there’s any need to summarize the story. Basically it’s a guy who was a victim of injustice who comes back to plot and take his revenge.
Off to the play itself, I was really curious how this was going to turn out. The movie fed off the emotions expressed by Johnny Depp’s facial expression, tone, and body language. This is what Audie Gemora would have to bring out when he takes on the role of Sweeney Todd/Benjamin Barker.
From the get go, it was quite obvious that this would prove to be a huge challenge. From the first conversation with the sailor Anthony (played by Franco Laurel), I didn’t feel the emotion come through. I expected more emotion and hatred to come out and jump at me when Sweeney Todd described the city as “…a hole in the world like a great black pit, and it’s filled with people who are filled with shit!” I didn’t feel the anger, the rage, the fury that distorted Benjamin Barker to become the “Demon Barber of Fleet Street”. This carried on throughout the play, lacking the power of emotions that should have been overflowing after a 15-year long exile. The actions should have been more exaggerated, a lot bigger… The stage was simply too overwhelming, that bigger movements would be needed to convey Sweeney Todd’s sentiments.
The part that this was most evident at was during his crazed monologue expressing his frustration when Judge Turpin (played by Roger Chua) just barely escaped his clutches. The lyrics below (to me) was the make or break point of the Sweeney Todd interpretation:
“I will have vengeance.
I will have salvation.
(shouted) Who sir, you sir?
No one in the chair, come on! Come on!
Sweeney’s waiting. I want you bleeders.
You sir – anybody.
Gentlemen don’t be shy!”
Lyrics c/o http://www.soundtracklyrics.net
I felt this should have been one of the most powerful parts of the play. Instead, it was a pale rendition of his “Epiphany.”
Another criticism I had was for the young Tobias (played by Marvin Ong). The limp should had been more exaggerated. The acting looked like he just stubbed his toe or dropped something on it. (and I didn’t get the wig at the end)
The love story of Anthony and Johanna (played by Lena McKenzie) was well portrayed though. Despite being a background story, intertwining with the dark tale of the Demon Barber, it was not overshadowed. It showed enough of itself to get noticed, but did not eclipse the main plot. The acting though, again, could’ve been better.
Another saving grace of the play though, was Mrs. Lovett (played by Menchu Lauchengco-Yulo). Although she wouldn’t be my obvious choice, she gave a good performance. I would’ve wanted, though, to see a more conniving, cunning, devious, portrayal of this character. Her singing and actions were enough to reach out to the audience to make them feel her interest in Sweeney Todd.
Also, the sound system (I guess it was the placement of the lapel mics?) wasn’t consistent. It was quite a distraction, especially when it happens in key parts of the play.
Overall, I’m in no way a theatre expert, but comparing it to the other ones I’ve seen (Avenue Q, Cinderella, and Spelling Bee); I feel “Sweeney Todd” had failed to live up to its potential. The movie was full of emotions, while the play experienced a lack of it. I’m starting to think though that the futile exercise of retaining the accent could have taken away the most of the emotion. At any rate, it was an experience to be able to see a stage adaptation after a successful movie rendition. Maybe in the future, they could pay attention to the little things which, both on what needs to be kept and what needs to be exaggerated for a successful stage rendition.
