Review: Sweeney Todd from Actors Theatre of Indiana 

Don Farrell as Todd is downright ghoulish

click to enlarge ZACH ROSING
  • Zach Rosing

Sweeney Todd: The Demon Barber of Fleet Street has been a Stephen Sondheim audience favorite since it premiered in 1979 and swept the Tony Awards. And for good reason. Setting aside any moral/social commentary that can be gleaned from it, the show has a dark but fascinating plot, bizarre characters, and intricate and exquisite music.

I could break out the superlatives to describe Actors Theatre of Indiana's production, but the bottom line is, it's excellent — probably one of if not the best I've ever seen, and since Sweeney is a popular musical staple, I have seen my fair share. ATI presents one amazing voice after another in its deliciously macabre production.

One element that sets this show apart is its location. The Studio Theater at Carmel's Center for the Performing Arts resembles a black-box theater all grown up. From my vantage point in the front row, I had the disconcerting experience of actors being so close that I felt as if they were invading my personal space, which added to the surreal atmosphere. ATI maximizes its use of the small stage. One main set piece (scenic designer P. Bernard Killian) is multipurposed for every scene, embellished occasionally by a few chairs or tables.

Don Farrell as Todd is downright ghoulish (the white face and exaggerated black eye makeup completing the characterization thanks to makeup designer Daniel Klinger). Judy Fitzgerald plays a perfect foil for Farrell's insanity: a cheerful, motherly, practical woman who, without breaking character, is ready to take out Toby (Caleb Wertz) immediately after their moving duet "Not While I'm Around." Director Richard J. Roberts makes Lovett and Todd stark contrasts: one inherently evil and unaware of it; the other crazy and all too aware of it. This emphasizes that Lovett is, in fact, the villain, not Todd. Another inspired turn is the placement of Todd's victims in the theater's ceiling grating toward the end—another satisfyingly eerie touch.

The only quibble I have, which made me take off half a star, is that only about half the cast uses accents. I believe in all or nothing. It's a Robin Hood: Prince of Thieves thing.

Through Feb. 14, $20-25, The Center
for the Performing Arts (Carmel),

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