ICU MTSoc Presents Sweeney Todd

Isuppose you can never really tell which of your friends would make the most convincing serial killer. When auditions were running for MTSoc’s production of Sweeney Todd back in December, the titular role of the murderous barber was hotly contested with auditionees flocking in from as far afield as King’s College to throw their hat into the ring. So when 2nd-year physicist Nick Bradley secured the part of Sweeney - undoubtedly one of the most coveted characters in all of musical theatre, and in his debut performance with the society no less – quite a few people were surprised.

While Nick, at 6’11” (at a guess), is as physically imposing as they come and is known throughout the college for the quality of his beautiful singing voice, he’s one of the last people you would guess is likely to grab the nearest razor and begin slashing merrily away. A night in the union with him reveals in him an aptitude for banter, a pining for New Orleans, and a passion for music but not a thirst for blood.

However, the second the cast saw Nick perform “Epiphany”, the turning point of the musical and arguably the most exhilarating number in a show full of exhilarating numbers, everything became clear. It turns out that the man of many talents is also an exceptional actor. During the first run of the show the only note director Pete Noden made for the scene was “Nick – a little bit of wee came out”.

Nick leads a colourful and exceptionally talented cast of characters as they tell the tale of Todd, a barber wrongfully imprisoned who has escaped capture and returned to London. Encountering his old neighbour Mrs. Lovett, he plots his revenge with her on the Judge that sent him away and took his daughter. Along the way he meets a naïve young sailor (played by myself), a half-crazed beggar woman, an “Italian” barber and his servant boy, and a beadle working for the judge. As the story unfolds, these characters collide with each other in ways that will impact them forever.

Whilst the story itself is thrilling, the legendary musical score (composed by the great Stephen Sondheim) is what makes the show the masterpiece it is. Tackling one of the most challenging productions in all of musical theatre was something that the entire cast found daunting as the rehearsal process began, but under the rigorous musical direction of Henry Harrod each number has been polished clean as a whistle. It has been woven together with dexterity into a sonic tapestry that glistens more and more brilliantly as the show progresses.

Henry’s commendable efforts in finding a top-quality band have also paid off – at the first band call when I sung “Johanna”, one of the most well-known songs from the show, I was filled with a new love for the number as I heard the beautifully powerful swell of brass that underscores it.

The songs themselves also give the performers a chance to shine, and each and every member of the cast has risen with gusto to the occasion. The exceptional singing talents of the ensemble gives every chorus number a strength that sends chills down the spine, and the leads match that power with their performances; standouts include Emma Watson’s portrayal of Lovett, with a belt range that would put any performer to shame, fresher Fergus Wade’s mesmerising turn in the role of servant boy Toby, and Ehsaan Shivarani’s show-stopping appearance as barber Adolfo Pirelli, who leaves the audience laughing with every minute of the little stage time he has.

The directors’ choice to include songs that are traditionally considered optional also bolsters the performances of the leads; first year chemical engineer Laurence Ankers’ portrayal of the beadle Bamford explores the attics of the human hearing range with his high notes, Hatty Campbell’s beggar woman fully expresses every dimension of the haunting character, and Arun O’Sullivan’s Judge Turpin has his shocking chance to make everyone in the audience squirm in discomfort. Roshani Abbey is also a highlight, showing off her beautifully smooth soprano range in the heart-warming “Green Finch and Linnet Bird” solo.

It has to be said that the duets are often the most stunning part of the show; the fabulous interweaving that builds between the four voices of Anthony, Johanna, the Judge and the Beadle by the end of “Ladies In Their Sensitivities” is truly magical to take part in, and a moment that took place in AS2 when glittering rays of sunshine danced through the windows and onto the backs of Nick and Emma as they performed the breath-taking duet “My Friends” remains the highlight of the rehearsal process for me.

While I enjoy nothing more than to wax lyrical about the power of the show, and while listening to the soundtrack can do a lot to communicate the thrill of the musical, there truly is no substitute for seeing these exceptional performers in the flesh. So gather round and attend the tale – it runs from the 2nd to the 5th of March in the Union Concert Hall, and tickets are already selling like hot pies. It promises to be a truly unique production, and is likely to be one of the best in MTSoc’s history.

To get your ticket, visit https://mtsoc.co.uk/tickets/