Sweeney Todd as presented by Entr'acte

Entr’acte - Sweeney Todd 

Wednesday 19th February 2025 

During its relatively short existence, Entr’acte has gained a reputation for producing top quality musical theatre. It was quite the leap in genre from last year’s ‘Guys and Dolls’ to this year’s production of ‘Sweeney Todd’ but, with a stellar cast led by an exceptionally talented production team, this vibrant young group proved more than capable of taming Stephen Sondheim’s beast of a show. 

The foyer of the O’Reilly Theatre in Belvedere College was packed to capacity as we waited to enter the auditorium. Rarely have I experienced such a palpable atmosphere of excitement and expectation before opening night of a show. There was a real buzz in the air as we were led to our seats. Front of House personnel were helpful and efficient, ensuring that the large crowd moved along comfortably. 

Niamh McGowan's direction was simply visionary from start to finish. She incorporated a highly original circus motif into the production, which was a very bold choice. But it was a choice that elevated the narrative in a refreshingly clever way, harnessing the show’s dark, twisted energy, as Sweeney’s eerie, shadowy tale played out against a darkly ethereal circus setting of late 18th century London. Direction was highly original, clever, and intuitive, with great understanding of pace and stagecraft. There was great smoothness between transitions thanks to a very talented ensemble, who were responsible for moving the set pieces. ‘A Little Priest’ was a masterclass in direction, comedy, musicality, and characterisation. The highly theatrical use of different coloured fabric as each of Sweeney's victims met their maker was a wonderful touch. A superb job all round. 

Ms. McGowan also took on the role of choreographer. Choreography had a pivotal role in this show. Movement was beautifully stylised. The ensemble's outstanding physicality brought an added dimension to many musical numbers. Everything was so sharp and flawlessly executed, always in tune with the sinister undertones of the narrative. ‘More Hot Pies’ was remarkable in the sharpness of its movement, with every syllable punctuated by a definite movement before moving into a very controlled and stylised slow-motion sequence. Superb work! 

Róisín Heenan did a remarkable job as musical director. The positioning of the onstage orchestra on two levels must have posed a challenge, but it did not affect what was an incredible orchestral performance. From the beautiful strings reflecting Anthony's longing in ‘Johanna,’ to the frantic, dissonant accompaniment which mirrored Sweeney's descent into madness in ‘Epiphany,’ this was a tour de force orchestral presentation. There was very sympathetic underscoring throughout, adding greatly to highly emotional undertones. Principal singing was of a very high standard throughout. There are hardly enough superlatives to sum up the sound from an exceptional ensemble. There were so many choral highlights. From the powerful dynamics of ‘Ballad of Sweeney Todd,’ to the brilliantly performed ‘More Hot Pies’ with its rich harmonies, there was superb attention to detail in every aspect of the choral work. A fabulous job from all.

Ciaran Mooney gave an excellent performance as Sweeney Todd, the wrongly convicted barber, intent on bloody revenge. His wonderfully sinister and commanding presence drew the audience in from the opening scene. He navigated the complexity of Todd’s tortured character so skilfully, balancing both victim and villain, winning the audience over as they warmed to him, in spite of his murderous tendencies. Mr. Mooney had a gloriously lyrical vocal; a commanding baritone with incredible emotional range as he moved from moments of disturbing tenderness like ‘Pretty Women,’ to hellbent fury in ‘Epiphany.’ ‘Pretty Women’ was quite mesmerising, almost hypnotic in its delivery. ‘Epiphany’ was a powerful, maniacal rage as he descended into madness, intimidating audience members and building to a raging crescendo. 

Grace Kinirons was quite astounding as Mrs. Lovett. Ms. Kinirons had the most incredible talent for nuanced storytelling. Her deep understanding of the show’s macabre humour was evident in her exceptional timing. Her brilliantly timed “That's all very well” after Todd's raging ‘Epiphany’ was indicative of such comic brilliance. And yet there was an underlying darkness. She was so manipulative, pulling at Sweeney's strings in a very nuanced subtle way. Ms. Kinirons had a gloriously timed ‘lightbulb moment’ leading into ‘A Little Priest,’ a number which was brilliantly performed with layers of intelligent subtext and opportunistic glee. Manipulative, playful, yet deliciously dark. ‘By the Sea’ was a stunning declaration of unrequited love with exceptional articulation and heart. 

Joe Jennings was yet another standout in the role of Anthony Hope. Mr. Jennings was a beautiful singer, pure and expressive, especially in ‘Johanna.’ He was naive yet passionate. An excellent actor with superb diction and understanding of script, Mr. Jennings' performance was one of many highlights in a very strong show. 

Joanna Yusuf played the role of Johanna. She gave a beautiful performance, her ethereal soprano voice balancing the romantic yet tragic elements of her character. ‘Green Finch and Linnet Bird’ was hauntingly good. Ms. Yusuf had a lovely presence right through the show and worked very well with Mr. Jennings in particular. 

Caoimhe Tyndall as Tobias Ragg was an unusual piece of casting. But, my goodness, it was a perfect choice. Ms. Tyndall was simply wonderful in the role. She was a highly theatrical performer, extremely skilled in her movement and physicality. ‘Not While I'm Around’ showcased her most stunning, musical theatre vocal. It was acted beautifully, with heartbreaking layers of loyalty and vulnerability. A deeply moving performance. 

Andrew Docherty had a formidable presence and brought menacing gravitas to the role of the lustful and controlling Judge Turpin. This was a most sleazy portrayal. His chilling ‘Johanna - Mea Culpa,’ an absolute beast of a song musically and dramatically, was brilliantly performed, a most disturbing spectacle. An excellent acting performance. 

Daniel Ryan played the pompous Beadle Bamford with a darkly comic touch and a wonderful singing voice. ‘Ladies in Their Sensitivities’ was excellently performed, including lovely falsetto. His stint at the harmonium was both hilarious and disturbing in equal measure. Mr. Ryan worked very well with Mr. Docherty. A very clever actor, he had wonderful diction and was always in tune with the narrative.

Anna Bergin delivered an excellent performance as the Beggar Woman. She had wonderful physicality and presence, moving around the stage with agonising intent. Her fantastic mezzo-soprano was clear and haunting all through. Her skilful movement between glorious vocals and tortured wails throughout the show made for a most memorable, emotional performance. 

Aidan Byrne gave a very strong performance as the larger-than-life charlatan swindler Adolfo Pirelli. It was a most theatrical performance. His faux Italian accent was a delight. Mr. Byrne had a great voice and super comedic timing. He got a great reaction as his accent melted back into an Irish brogue. He sang ‘The Contest’ with a soaring voice, excellent range, and wonderful understanding of its humour. 

Damian Sweeney gave a dark, eerie portrayal of asylum owner Jonas Fogg. Mr. Sweeney had great presence and played the role with sombre intent. A very strong performer, Mr. Sweeney was a standout member of the ensemble in other scenes. 

One of the most outstanding elements of this production was the strength in depth of its ensemble. Their stylised movement was incredibly precise and in tune with Ms. McGowan's vision for the show. Everything was so sharp. Performance levels were exceptional with wonderful use of face, body, and sound. I loved their grotesque movement, physicality, and animalistic outbursts in Fogg's asylum. This was a very cohesive and talented group whose performances were central to the creation of the show's unsettling atmosphere. ‘The Ballad of Sweeney Todd’ was an incredible start to the show and we knew from that opening number how good things were going to be, largely because of the ensemble's exceptional work. 

The set was a visual triumph, incorporating circus elements with the grim atmosphere of 18th century London. The barbershop on the upper level was ingenious in its design and the chair and chute, so central to the show’s macabre premise, worked their theatrical magic perfectly. This set was incredibly detailed with a wonderful finish to its highly impressive scenic artistry. The multi-functional trucks were big, but they were moved and spun so well by the very talented ensemble cast. There was a very impressive and imposing oven in the bakehouse. Every single location was so well thought through and brilliantly realised. The circus tents, distressed, off-white with blood red finish were a wonderful touch. 

Stage management, by SM Dee Ní Chloscaí, was excellent, with very clever use of cast to perform set changes. And yes, it was a performance. Ensemble were featured rather than hidden, as they moved sets with purpose and control, never once dropping character. Each transition was meticulously choreographed as part of the performance itself. Everything was swift and seamless, maintaining a wonderful momentum throughout the show. 

The exceptional lighting plot in this show was a huge part of the creation of an exceptionally theatrical mood and atmosphere throughout. There were wonderfully dramatic contrasts from shadowy, ominous tones to some incredibly dramatic lighting from the pit, which was particularly striking during ‘Epiphany.’ The brilliantly timed use of spotlights in ‘Epiphany,’ picking out audience members as Sweeney targeted them directly, gave us an even more immersive experience as we became part of his descension into madness. Timing of the myriad lighting cues was sublime. Colours were well chosen. There was red. Lots and lots of red, as murderous intensity increased unabated. Haze was used to great effect to create an ethereal space caught somewhere between this darkly mysterious circus and Todd’s tortured state of mind. A brilliantly designed lighting plot with exceptionally good operation. 

Sound was exceptionally good throughout this production. Every word of dialogue was crisp and clear. The choral sound was simply sublime, the balance incredible. The mixing of the orchestra was wonderful with clever featuring of individual instruments when required. I loved the very effective sound effects. Birds chirping, the excellently timed sharpening of the razor for the challenge, the bell upon entering the barbershop and the seagulls in ‘By the Sea.’ It was an exceptional sound design and operation which perfectly complemented the professional standards set in all other areas. 

There was very good work in the props department from Lovett's pastry baking bowl to Sweeney's case and razors. Attention to detail was generally very good. The bird cages were very authentic, the red and white crates were perfectly in keeping with the circus theme and Judge Turpin's gavel and cane added to his character. The use of the rolling pin and meat cleaver at the end of Act One was wonderfully theatrical. Mrs. Lovett's knitting was, of course, RED. Beadle's harmonium was most impressive looking. My only small quibble was that the pistol given to Anthony was not authentic to the era as it was more of a Colt style weapon. This was a pity but a very small point in what was a wonderfully strong props plot in general. 

Hair and makeup were wonderfully creative. Wigs, when used, were excellent. I loved the ensemble clown makeup at the top of Act Two and how their clown looks became more grotesque as the show continued and Todd became more maniacal. The exaggerated, Joker-esque look of the ensemble from the asylum scene onwards, greatly enhanced the sinister personae of the ensemble, creating a captivating visual which was beautifully in sync with the circus motif and Ms. McGowan's overall vision. 

Costumes were a visual feast, from the dark, sombre tones of Sweeney himself, to the fabulously flamboyant gold detail of Pirelli's costume. Ensemble were excellently dressed, perfectly evoking the 18th century look. I loved little bits of detail like Lovett's red and black dress and Todd's red waistcoat; red creeping in as the show progressed and became bloodier. Todd, dressed as a grotesque ringmaster at the end of the show, with Lovett bedecked in showgirl feathers, was such a creative touch and a perfect way to finish proceedings. An excellent costume plot overall. 

This was innovative theatre at its very best. Every single element from direction, to makeup, to costuming, worked harmoniously to create a darkly humorous, often sombre, but utterly captivating theatrical experience. The creative choices were bold, adding layers of depth and intrigue in moulding a most thought-provoking and memorable interpretation of Sondheim's classic tale. Congratulations and thanks to all. 

Pat McElwain 

Gilbert Adjudicator 2024/2025

Photos kindly shared by the society

Photographer - Darragh C Photography

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