Sweeney Todd: The Demon Barber of Fleet Street (Tooting Arts Club)
Closed 2h 45m
Sweeney Todd: The Demon Barber of Fleet Street (Tooting Arts Club)
89

Sweeney Todd: The Demon Barber of Fleet Street (Tooting Arts Club) NYC Reviews and Tickets

89%
(799 Reviews)
Positive
97%
Mixed
2%
Negative
1%
Members say
Great singing, Great staging, Absorbing, Clever, Entertaining

About the Show

Tooting Arts Club's immersive staging of Sondheim and Wheeler’s iconic musical thriller transfers from London to NYC's Barrow Street Theatre. Now starring Tony nominee Carolee Carmello.

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Member Reviews (799)

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10
Overrated, Indulgent, Excruciating, Disappointing, Great singing

See it if I would have given it 0 but Siobhan McCarthy was so fantastic I had to give this production something. I left at intermission. Such a waste!

Don't see it if You enjoy the score to this masterful musical. A piano, clarinet & violin do not do it! Not everything deserves an immersive re-staging.

26
Disappointing, Intense, Great acting

See it if you prefer immersive versions of shows. The actors are great but I got nothing out of that at all.

Don't see it if you want to have a pleasant evening. Read more

Critic Reviews (56)

The New York Times
March 1st, 2017

"Delivers on its ingenious, if limited, objective...This 'Sweeney' may raise your pulse rate....Yet unlike almost every previous 'Sweeney' I’ve seen, this one rarely penetrates your heart and mind. What we’re presented with is a self-contained, darkness-steeped spook house. And as with many amusement park entertainments, the jolts it elicits leave few aftershocks...It allows you to squeeze your partner’s arm in delighted anxiety, without paying the price of insomnia to come."
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Time Out New York
June 18th, 2017

"Sondheim and Wheeler’s killer-cannibal musical cuts a fine figure with a mostly new cast...In the title role, Norm Lewis is glum in repose but comes scarily alive when prowling through the audience, and Carolee Carmello is a vicious, hilarious marvel as his amoral and clingy accomplice, Mrs. Lovett. Even if you've seen 'Sweeney' many times already, Carmello makes it worth revisiting: She's giving a meaty, delicously human star performance."
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Time Out New York
March 1st, 2017

“This high-concept staging is a bloody wonder…Bill Buckhurst and a hugely talented cast make this site-specific 'Sweeney' seem as natural as pie and mash…In this claustrophobic environment, the horror and madness is palpable…The sonic joys of Sondheim’s richly woven score and the Grand Guignol shocks of this primal tragedy are almost unbearably intense...This thrilling, overwhelming 'Sweeney' is a full-course meal: hot from the oven and dripping blood."
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New York Magazine / Vulture
March 1st, 2017

"The gimmick, and the close quarters it entails, make this the most frightening 'Sweeney Todd' I’ve seen...The director Bill Buckhurst frequently has his cast bellowing in a space that doesn’t require it. It’s very effective, if at a cost to beauty...The score is a marvel of ingenious counterprogramming. That’s what makes the thrills thrill. The new production unfortunately flattens some of these effects...Still, when a production gets more than halfway there, it’s plenty. This one does."
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New Yorker
March 6th, 2017

“Sondheim’s mid-career masterpiece…‘Sweeney Todd’ is filled with so much wonder that, especially when you have a cast and a director as talented as those involved in this London import, it can temporarily erase the memory of the cynicism or knowingness that informs so many other current productions..The actors perform without mugging. Their characterizations are organic, and they open Sondheim’s brilliant lyrics up to a new freshness: their interpretations are those of actors, not stars.”
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The Hollywood Reporter
March 1st, 2017

“As a concept, it holds together remarkably well…All these clashing sentiments burn bright in an accomplished ensemble combining London holdovers with newcomers…The urgency and immediacy of its storytelling make it a terrific introduction to a glittering musical by a composer at the peak of his powers, and also an invigorating new spin for audiences who know and love this brilliantly conceived Victorian nightmare.”
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Entertainment Weekly
March 1st, 2017

“The Tooting Arts Club’s production has infused the murder-filled Stephen Sondheim show with even more infectious and thrilling energy than typical…Secomb’s Todd is perfectly menacing…Sondheim’s music and lyrics fit beautifully into the small space…Ultimately, 'Sweeney Todd' is a tricky show. Sure, it’s about a dark, depraved, and murderous man…But it’s also meant to be a comedy…The Tooting Arts Club nails it. Theatergoers should count on having a bloody good time.”
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Variety
March 1st, 2017

"The voices of the cast are uniformly robust. Secomb’s piercing glare and growling baritone give the demon barber the kind of sex appeal that makes mincemeat of a lusty lady like Mrs. Lovett...This tight-knit company, some of whom have been with the show since it originated in Tooting, also has a flair for the show’s undercurrents of black humor...All in all, this cheerily gory show is great family fun — if your family happens to be the Munsters."
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Deadline
March 1st, 2017

“While I am no fan of these mini-Sondheims, there are many pleasures to recommend this revival, adroitly staged by Bill Buckhurst in Simon Kenny’s uncanny setting. Atop the menu are Jeremy Secomb, truly, mesmerizingly terrifying in the title role…The other roles are superbly cast as well…Benjamin Cox’s arrangements for trio have their charms, but power doesn’t figure in the mix...This 'Sweeney Todd' provides delectable finger food when what you really want is the full meal.”
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New York Daily News
March 1st, 2017

“The show is intimate, inventive and as in-your-face as it gets...Reprising lead roles, Jeremy Secomb brings unblinking intensity as the titular throat-slitting barber, while Siobhan McCarthy is deftly daft as the baker who grinds victims into meat pies. Amid the atmosphere, narrative clarity can come out underbaked. Who’s that? Wasn’t the oven over there? And in a musical about justice, the singing doesn’t always do that to the majestic score.”
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AM New York
March 1st, 2017

"The pie shop concept is cute at first, but 'Sweeney' is a heavily-plotted drama that involves many different locations. This production is awkwardly staged...At its best, 'Sweeney' can be terrifying, mesmerizing and sweeping, but this production sacrifices the storytelling and score for the sake of a gimmick. The cast is decent but not noteworthy."
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NY1
March 2nd, 2017

"It's a stripped-down production featuring a lean and very mean company of performers that sing their guts out, and they kill it!...The intimate space lets us hear Sondheim's gloriously complex score loud and clear, and it gives us new appreciation for his searing lyrics. And when Sweeney starts slashing throats and his accomplice Mrs. Lovett cooks up the corpses into meat pies, it's especially ghoulish as the audience is thrust right into the middle of the action."
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Theatermania
March 1st, 2017

“A thrillingly immersive revival, which takes an already great musical and turns it into a heart-pounding visceral experience…Secomb combines the efficient physicality of a remorseless killer with a truly lovely singing voice…Director Bill Buckhurst excels at drawing out suspense and tension in his staging…Tooting Arts Club's production is full of such memorable surprises. It pulls us into the heart of the story like no other musical playing in New York right now.”
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Theatermania
June 15th, 2017

"Carmello is a revelation as Mrs. Lovett, unlocking the comic potential in one terrifyingly determined character...Lewis compensates with a velvety baritone that is able to express all the musical nuances in the score, even when there is nothing nuanced about his acting...Buckhurst's inventive staging makes us believe that any story can be told in any space with enough imagination."
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BroadwayWorld
June 17th, 2017

"A chance to see two top-shelf singer/actors, Norm Lewis and Carolee Carmello, transform a production that opened as an amusing Grand Guignol melodrama into a deeply moving and gorgeously sung evening of thrilling musical theatre...Lewis gives full value to Sondheim's music...His Sweeney Todd isn't a madman, but rather an emotionally wounded human driven to madness...Carmello draws you in with her character's absurd self-effacing humor and breaks your heart."
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Lighting & Sound America
March 6th, 2017

"In this environment, and with such a gifted company, the musical's rattling terrors and jet-black comedy are felt with a power that, for me, recalls the electrifying effect of the original, still one of the top five experiences I've had in four decades of theatregoing...Everything in Buckhurst's production is infused with imagination...Buckhurst makes judicious use of audience interaction without ever undermining the show's savage viewpoint, its cruel and sinister jokes."
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Theater Pizzazz
June 15th, 2017

"This singular production holds up extremely well. Primarily, that’s because Buckhurst has managed to find that elusive mix of macabre, mirth, and melodrama in Hugh Wheeler’s perfectly crafted book...Moreover, the director’s immersive staging feels like much more than just a gimmick here...Still, the production wouldn’t succeed nearly as well without this cast, all of whom craft vivid characterizations and handle Sondheim’s cleverly complex score with aplomb."
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Theater Pizzazz
March 1st, 2017

“It’s all so cleverly conceived…The spectacular London cast has been joined by the heart rending Matt Doyle …You won’t miss a beat of the exciting Sondheim brilliance that continuously pulsates in this operetta enveloping the audience…The direction by Bill Burkhurst will knock your socks off…Having seen two revivals of this remarkable Sondheim work, I can honestly say this one is the best of the lot in my opinion.”
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Theater Pizzazz
May 5th, 2017

“The wonderful ‘Sweeney Todd’ is getting a riveting revival by Britain’s Tooting Arts Club…This immersive approach works like black magic…Jeremy Secomb stalks the space, seeking his victims with murderous determination…Siobhán McCarthy offers a droll and irresistible Mrs. Lovett, his partner-in-crime and would-be paramour. Miraculously, a trio of musicians (piano, violin, clarinet) succeeds in bringing the complex, cacophonous score to vibrant life.”
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CurtainUp
March 1st, 2017

“Brilliantly inventive…Director Bill Buckhurst's approach is great fun…Everything about this propulsive staging works beautifully...A bigger orchestra could hardly top the effectiveness of this production's chamber sized threesome…None of this clever immersiveness would work without a cast who can deliver on all counts. And the Brits who pioneered the London hit do so with flying colors, as do the Americans who have now joined them.”
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Front Row Center
March 2nd, 2017

"The intimacy of the space is captivating. The actors move in and about the tables and customers. The fourth wall comes down with a flourish and then pops back up again...These actors march through the story like an army on the move. They take no prisoners, and make you sit up and pay attention, not only through their intimacy, but through their plain old skill. This is an ensemble that cares as much about each other as they do about the story...This production is magic. Pure and fine."
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Front Row Center
June 15th, 2017

“Stephen Sondheim’s musical masterpiece. Extraordinary art…A superb production...‘Sweeney Todd’ is flawless theater. Eight amazing performers…Productions like these show us how utterly engaging more creatively intimate theater can be. Bravo to Barrow Street for this tour de force, bravo to director Bill Buckhurst, and bravo to the entire cast and production team…As good as a musical gets, as good as theater gets."
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Stage Buddy
March 2nd, 2017

"One would be deceived to think that this slightly gimmicky environment degrades the shows integrity in any way. Rest assured that the show is left completely intact, and delivered with skill and finesse by an excellent team of actors and designers. Bill Buckhurst’s establishment of an immersive environment is smooth, subtle, and extremely masterful...The cast worked beautifully as an ensemble, delivering a rich, vibrant sound."
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Front Mezz Junkies
March 1st, 2017

“Piping hot and tasty is this inventive revival…Once the lights go out, the show kicks in with full force. From the first note sung, we know we are in for a solid fantastic meal here…This production is filled to the brim with great voices, creativity, and a perfectly cast group of actors. Not one bad ingredient in the lot…The whole production is more fun and startling, rather than dark and moody which works so well in the environmental set-up."
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C
March 1st, 2017

“Buckhurst manages to find the perfect, and sometimes elusive, mix of macabre, mirth, and melodrama…Yep, you’ll laugh, you’ll gasp…And you’ll leave humming every bit of Sondheim’s magnificently diverse score, and immediately want to go back for seconds. (Even the three-piece orchestra is sufficiently wonderful!) Much of the credit for the production’s success belongs to the stunningly chosen eight-person cast.”
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DC Theatre Scene
March 1st, 2017

“Secomd as Sweeney Todd and Siobhán McCarthy as Mrs. Lovett are two of the four holdovers from the London production, and their simultaneously chilling and hilarious performances are reason enough to make this a must-see show…The other four cast members are welcome additions for the New York transfer…This production of ‘Sweeney Todd’ somehow feels seminal.”
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B
March 2nd, 2017

"With his dead eyes, hollow cheeks and slicked-back hair, Jeremy Secomb is a very scary Todd. Any vocal shortcomings are more than made up for by his commanding presence. Siobhan McCarthy is as fine a Mrs. Lovett as I have seen...Kudos to director Bill Buckhurst for holding everything together. It’s a unique theatrical experience that I highly recommend. I also suggest ordering the pre-show pot pie and mash for $20 with beverage."
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The Huffington Post
March 3rd, 2017

"This is a pint-sized production of the Stephen Sondheim-Hugh Wheeler opus...Sondheim’s piano score for the musical is richly vibrant and as played by musical director Matt Aument, thoroughly and thrillingly fills the room...Yes, I prefer the full Jonathan Tunick treatment; but it wouldn’t work, or fit, here...The engagement seems to be an instant hit...This pie-shop 'Sweeney Todd' makes a tasty rendition of Sondheim’s masterwork, and serves up the show with style and thrills."
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The Huffington Post
June 15th, 2017

"The terrific, pint-sized, meat pie & mash production of 'Sweeney Todd' has gotten terrificker, to coin a nongrammatical but pretty much accurate adjective...Altogether enhanced by the presence of a pair of strong-singing Broadway vets...The slight weakness of the production when it opened, for me, was the Lovett; good enough, but lacking the glazed insanity that need lurk near the surface of the character. Carolee Carmello shows us how it should be done!"
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T
March 14th, 2017

"A radical staging shift does not diminish its power...Places the thrilling tale...in its most logical setting—a meat pie shop—and the results are deliciously devilish...Buckhurst uses the intimate setting to create a terrifyingly close experience...Music director Matt Aument and his trio manage to impart the lushness of Sondheim’s complex and gorgeous score...Jeremy Secomb is probably the most frightening Sweeney you’ll ever see."
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Newsday
March 1st, 2017

“Just 10 actors play all the characters with creep-fest glee, if not always vocally astonishing power. Jeremy Secomb’s baritone is a little light for Sweeney’s deepest dark heart…Sondheim’s score is expertly reduced to just a piano, strings and wind trio. Somehow, Sondheim’s restless chromatics, the difficult disjunct vocal lines, the extended song forms and, especially, the wrenchingly beautiful choral writing are approached with the affection and awe they deserve.”
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The Stage (UK)
March 2nd, 2017

"Both the most intimate production of the show I've ever seen and also one of the most confrontational and powerful. It's not just in-your-face theatre, but also sometimes in-your-lap...Jeremy Secomb’s performance is chilling and intense, unrelenting in its severity and savagery. Sondheim's show is also darkly funny and Buckhurst doesn't stint on this, with Siobhan McCarthy embodying Mrs Lovett's practical amorality with hilarious spirit."
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Daily Beast
March 1st, 2017

“Masterfully directed by Bill Buckhurst…What roots the production is Secomb’s chill fury and seeming physical restraint, which makes his explosions of violence that much more memorable…Your nerves at being within the action command as much of your attention as the performances, and the three wonderful musicians who manage to sound like a full orchestra…McCarthy’s fantastic performance perfectly captures Mrs. Lovett’s homely and hungry embodiment of the diabolical.”
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NorthJersey.com
March 3rd, 2017

“A riotously entertaining evening you won’t soon forget…The brilliance of the work, directed by Bill Buckhurst, is that while it generates plenty of laughs, it never loses touch with the terror of the story…The production is a marvel of site-specific theater, using the audience to help tell the story in a tightly packed room in which sounds and lights are pretty much the only staging aids…It’s theater-in-the-small, but it has a big impact."
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WNBC
March 1st, 2017

“Secomb’s performance is threatening and physical, and you’ll wow at the way he becomes unbuttoned and lost in the world during the macabre and cherished first act climax…All the familiar numbers are well-executed…Candlelight, a three-person orchestra give the production its atmosphere without any extravagant pyrotechnics…Here, we get a new twist on an old favorite, a particularly satisfying staging that’s a treat for all of the senses, even taste.”
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Simon SEEZ
March 7th, 2017

“A gimmick to be sure...But this production also reaches the heights of horror that some other productions rarely achieve. The director Bill Buckhurst abetted by his two terrific leads and an excellent supporting cast knows how to keep their audience shivering with delight…The effectively reduced orchestration/arrangements still fill our senses with haunting musical treats…A splendid production that will undoubtedly leave you craving for another helping of meat pie and mash.”
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Out Magazine
March 6th, 2017

"With the actors right up in your grill—and prancing on top of tables—the feeling is immediate and accessible, capturing the dark humor of the piece, with all the wit, pathos, and weirdness intact...Jeremy Secomb is powerfully brooding as the demon barber with a taste for blood, Siobhan McCarthy is wonderfully adorable and grotesque...This may be Sondheim’s most fabulous work, and by stripping things to the bone, this production makes it soar again."
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NJ.com
March 1st, 2017

"The real wonder of all this is that it never feels gimmicky -- just a full-on, assault-all-your-senses immersion into one of the greatest musicals ever crafted...Occasionally you may yearn for a little more distance from the action. But Buckhurst, Secomb and the smashing Siobhan McCarthy have succeeded in restoring all the intensity and Grand Guignol creepiness to a musical thriller that can devolve into kitsch. See this once-in-a-lifetime production at all costs."
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Epoch Times
March 17th, 2017

"Wheeler and Sondheim have constructed a masterful morality tale, which warns of the dangers of blind vengeance. The theme is evident in Secomb’s utterly brilliant performance. His face is alive with the light of madness, his entire body on a continual hair trigger, and woe to anyone who gets in his way...Greatly adding to the production’s overall impact is the excellent work of director Bill Buckhurst and choreographer Georgina Lamb...An altogether satisfying meal."
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Epoch Times
July 10th, 2017

"A somewhat softer and, at times, funnier show than when it first opened, which allows for a more well-rounded, if not always as intense, presentation...Lewis and Carmello, who does a very fine turn as the duplicitous Mrs. Lovett, have an excellent sense of timing, allowing some of the more comical moments to really shine...Buckhurst’s direction is pitch-perfect...This production takes what is essentially an epic story...and reduces it to something quite intimate."
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The Huffington Post
March 3rd, 2017

“The excellent company work the crowd as is now the custom in immersive theater. Favorite songs as are beautifully done in juxtaposition with Todd’s machinations with the incomparable Mrs. Lovett. Siobhan McCarthy inhabits this role with a gorgeous voice and murderous glee…Under Bill Buckhurst’s direction, the play moves apace, and is a serious hoot. You are not likely to have more fun at any other play this season.”
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BSonArts
March 1st, 2017

"This is environmental theatre at its finest...The power of this production comes from the relative simplicity of its elements. Eight actors portray the main characters and shift into an ensemble chorus when necessary...The cast is without fault...The real allure of this production is the clarity and the effectiveness of the way it reveals the wonderful marriage between Stephen Sondheim’s music and lyrics and Hugh Wheeler’s book."
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Showbiz 411
March 2nd, 2017

“The result is quite extraordinary and shocking. ‘Sweeney Todd’ is a big musical, with a chorale and a booming orchestra. Somehow, director Bill Buckhurst has drastically reduced the size while keeping the show large. His version of Sondheim’s masterpiece lives up to all the great productions that have preceded it over 38 years…The cast is all top notch.”
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Pop Culturalist
March 2nd, 2017

“This type of staging really draws the audience into the world of ‘Sweeney Todd.' Aside from the creative staging, the way in which the music was performed was terrific. Not only was it complementary to the small space itself, but it was also ideal for the production. It allowed the voices of the performers and the song lyrics to really shine…Overall, the cast was terrific…’Sweeney Todd’ is one of this season’s electrifying shows that can’t be missed."
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Paste Magazine
March 10th, 2017

"This 'Sweeney Todd' washes down relatively easy. Still, it’s hardly the stuff of dinner theatre...Among the show’s most charming moments are when the shop bleeds into the performance...For a production that is ruthlessly in-your-face in many ways, what we don’t get are the gushing arterial fireworks and spontaneous fountains of stage blood typically associated with 'Sweeney Todd'...This 'Sweeney Todd' tickles the ribs more often than it goes for the jugular, but is still a dangerous delight."
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Washington Square News
March 6th, 2017

"While Sondheim’s music and lyrics remain classic, the location’s intimate space allows for some flexible and astonishingly creative audience set-up…Secomb, who plays the protagonist Sweeney Todd, has a thunderous voice that pervades the theater and makes his character all the more intimidating…The performance is a wonderful revival and everything from the intimate space to its small cast and incredibly talented three-person orchestra make it a truly enjoyable and lively experience.”
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The Stage (UK)
March 23rd, 2015
For a previous production

"Both Secomb and McCarthy chill the soul in different ways. They are joined by just six other actors to populate the rest of the story, but Bill Buckhurst's production pulls off the amazing feat of never making it feel (still less sound) threadbare. These are full-blooded performances in every sense...Sondheim's brooding masterpiece is brought up close and personal in a shattering, unmissable production."
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The Telegraph (UK)
March 24th, 2015
For a previous production

"A darkly atmospheric revival...The most intimate, immersive evening in town...The creative juices of director Bill Buckhurst and his team have coagulated into a deeply satisfying confection...You can quibble about a few supporting performances, and some of the make-up looks a bit am-dram, but this fleet-footed, stylishly lit affair delivers the essentials: finely sung, suitably eerie ensemble story-telling with two hair-raising turns at its centre...What a scrumptious little treat."
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The Independent (UK)
March 23rd, 2015
For a previous production

"Where better to serve up Sondheim's gory masterpiece than a working old-fashioned pie shop?...Not that there's anything gimmicky about Buckhurst's ingeniously immersive, flickeringly candle-lit production. The in-yer-face, claustrophobic proximity heightens both the black farce and the tragic horror...And hearing the score – sung with terrific commitment by Jeremy Secomb's haunted Sweeney and cast – at such intimate quarters allows you to revel in the intricacies of the writing."
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The Arts Desk
March 23rd, 2015
For a previous production

"Stephen Sondheim's ever-elastic masterpiece is downsized to largely dazzling effect in its latest iteration...The environment here is the principal occasion rather more than the two leading performances…Would one want every 'Sweeney Todd' done this way? No, since part of this musical's achievement in full flight has everything to do with its surging wall of sound. But on its own terms, at once revisionist and remarkable, the occasion is indispensable."
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The London Evening Standard
March 23rd, 2015
For a previous production

"What a show it is from director Bill Buckhurst, soaked in an atmosphere of thrilling intimacy which suits Stephen Sondheim’s musical so exquisitely...It’s a delight to watch the thought and confidence with which the actors possess every inch of the space...McCarthy shines as the enterprising pie mistress and Jeremy Secomb makes for a magnificently brooding Sweeney. Emma Thompson, soon to set up pie shop at the Coliseum, has some serious competition."
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British Theatre Guide
March 23rd, 2015
For a previous production

"A cast of seven, supported by a musical trio and expertly directed by Bill Buckhurst, works exceptionally hard to ensure that we have fun and it works to perfection. There may be a few rough edges but that is part of the charm of a production, which is deliberately attempting to depict the seamier side of London life...The two leads act more than capably and sing well enough, giving great feeling to their performances...A striking and memorable musical."
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BritishTheatre.com
March 23rd, 2015
For a previous production

"A complete triumph in every way. It takes you by the throat and clasps you firmly in its thrall for its entire duration. It is shockingly powerful, brutally honest, raw and rich at the same time....What Buckhurst has achieved here, as director of this extraordinary ‘Sweeney Todd,’ is really remarkable. He has reduced it to its fundamental elements and then unleashed the spare, violent heart of it directly into the eyes and soul of the audience."
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Financial Times (UK)
March 14th, 2015
For a previous production

"The intimate Victorian eaterie perfectly frames the claustrophobic atmosphere and cut-and-thrust plot of this penny-dreadful tale of...Close up, you can savor Sondheim’s razor-sharp lyrics and intricate score…The recipe is not entirely perfect. The show is sometimes louder and more insistent than it needs to be at such close quarters: more variety of tone would render it the spookier. But the company combine thrift, skill and ingenuity to make an irresistible tasty treat."
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The Guardian (UK)
March 29th, 2015
For a previous production

"They will be hard put to match the grisly glory of Bill Buckhurst’s staging...One of the most heartening theatrical stories of the past year, the production proves the importance of visionary producers...Jeremy Secomb and Siobhan McCarthy are particularly strong as Todd and Mrs Lovett, he with his tombstone face and she sinisterly romping. Each slit throat is announced by red light washing across the stage. A background sizzle announces that the ovens are alight."
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What's On Stage (UK)
March 23rd, 2015
For a previous production

"The cast sing the beast of a score magnificently, covering the full range of sinister grand guignol to valse macabre, music hall oompah, plangent lyricism and ensemble clatter and chorale...The engine of the plot – I've always felt there's far too much of it, causing lumps and sags in each half – is Mrs Lovett, whom Siobhan McCarthy presents as a slightly mad, totally impulsive and unpredictable Whitechapel witch; this isolates Jeremy Secomb's demon barber even more."
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