Does Sweeney Todd at HPP Make the Cut?
by Deitra Oliver
While a visit to The Demon Barber of Fleet Street may not be on your list of places to get a haircut, you will certainly want to put this show on your to-do list to kick off ‘spooky season.’ Directed by Drew Molotsky, with Abby Drexler as assistant director, Haddonfield Plays and Players brings Stephen Sondheim’s 1979 musical to glorious, murderous life. I was fortunate to attend the sold-out opening night, and the richness of the performances and the strong attention to detail blew me away. From the stellar vocal harmonies, under music direction by Mike Doheny, to the sometimes-haunting, syncopated movements choreographed by Jessica Teehan, every aspect of the show flows together to reinforce the story’s underlying tension, dark humor, and grimness. Behind the scenes, stage manager Ashley Engleson, along with assistant stage managers Randi Fowler and Cora Gollihur, helps keep this complex production running smoothly.
Kyrus Keenan Westcott plays the titular character, Sweeney Todd, a revenge-driven serial killer who uses a barber’s chair as an executioner’s block. Todd joins forces with his equally peculiar and often questionable landlord, Mrs. Lovett, played by Sara Vattimo; the pair clandestinely dispose of the bodies by baking them into meat pies and selling them. Westcott brings a compelling intensity to Todd. Their physicality as they prowl across the stage engenders a sense of unease, as if a predator is preparing to strike. Todd is a complex character; his backstory makes him sympathetic, while his choices and descent into madness and cruelty make him terrifying. Westcott delivers a fearless performance. His partner in crime, Mrs. Lovett, is portrayed with wit, likability, and depth by Sara Vattimo. A talented actor and vocalist, Vattimo delivers what was probably my favorite performance not only in this show but of the year. No matter what was happening onstage, I found myself watching Vattimo, whose reactions and expressiveness made every scene engaging and entertaining.
Featuring an intriguing cast of characters, this dark and twisted tale takes audiences on a journey that will make them laugh, gag, gasp, and maybe even cry. One of the most curious characters is the Beggar Woman, played by Jamie Talamo. The Beggar Woman appears throughout the show, often delivering cryptic warnings. Talamo captures the character’s complexity, bringing both humor and vulnerability to the role. Tormented by her past, the Beggar Woman wavers between madness and moments of clarity. Talamo portrays this struggle with sensitivity.
Running parallel to the tale of murder is the love story between Johanna, played by Laura Duffy, and Anthony Hope, played by Jordan Rediger. Duffy convincingly portrays Johanna’s transformation from an innocent, naïve ingénue into a determined survivor willing to fight for her freedom. When Johanna makes a pivotal decision, Duffy’s acting choices are especially powerful. Combined with their beautiful operatic soprano voice, Duffy’s performance truly shines.
Smitten with Johanna at first sight, Anthony Hope woos her with a little bird in a cage. The birdcage is just one of the many impressive props designed by Debbie Mitchell. Throughout the production, I was impressed by the attention to detail. The birdcage given to Johanna is particularly effective, complete with a sweet little bird perched inside. Anthony eventually helps Johanna escape her wicked adoptive father, Judge Turpin, played by Mike Doheny. Rediger brings a refreshing lightness and just the right amount of emotional energy to the lovesick Anthony. Rediger and Duffy work well together, bringing believability to their characters' relationship. Their duet, “Kiss Me (Part 1),” is very sweet, and their voices blend beautifully.
Johanna’s adoptive father, Judge Turpin, is a truly vile and repulsive character. Characters like this can be among the most enjoyable to play, but they can also be among the most challenging. Doheny does an admirable job of bringing Judge Turpin to life. In the song “Johanna”, Doheny captures the turmoil and depravity perfectly. Doheny portrays Turpin’s inner turmoil so effectively that the audience seems torn between applauding and booing. That reaction is a testament to Doheny’s performance, which is so effective that it leaves the audience conflicted. Kudos!
The Beadle, played by Garrett Bruce, is a sycophantic hanger-on and general menace, and Bruce delivers a standout performance. Bruce is hilarious and snarky and wonderfully slimy as the “gofer” to The Judge. The “Parlor Songs Parts I, II, and III” sequence is well worth the price of admission. I particularly enjoyed the dandified costume Ryan PJ Mulholland designed for The Beadle. Mulholland’s costume choices are essential to the storytelling, conveying changes in both financial status and mental status. The use of color, texture, and layers is highly effective in establishing character and conveying social status. Pirelli's cape is a fantastic detail that lends the character an air of extravagance.
Adolfo Pirelli, played by Robert M. Colleluori, is Todd’s rival barber and the mentor of young Tobias Ragg, played by Noah Church. Colleluori brings infectious energy to the over-the-top and flamboyant Pirelli. In “The Contest,” Colleluori delivers a standout performance, filled with physical comedy. Pirelli is eventually outsmarted by Todd and disappears. After Pirelli disappears, the loyal-to-a-fault Tobias comes under Mrs. Lovett’s wing and becomes her assistant. Like Johanna, Tobias undergoes a transformation as the darkness of those around him is revealed, forcing him to confront a world far removed from his innocence. Church demonstrates emotional depth and strong instincts in the song “Not While I’m Around.” In the show’s final scenes, Church is particularly compelling as Tobias descends into despair and apparent psychosis.
Another character who inspires revulsion is Jonas Fogg, played by Moe Copeland. Fogg runs the asylum where Johanna is sent and is known for his underhanded dealings. Despite the darkness of Fogg’s intentions, Copeland does a wonderful job of bringing the dark humor that runs throughout the show into their performance.
Although Fogg appears only briefly as a character, Copeland remains a strong presence throughout the show, delivering impressive vocals alongside the outstanding ensemble, which includes Christine Callahan, George Colli, Marley Ernenwein, Peter Hoefler, Cara Horner, Shayna Lorraine Murphy, Jodi Lawrence O’Connor, Grace Pierlott, Matthew Reeve, Will Reid, AJ Steele, Jennifer Weir, and JP Zarukin. Throughout the musical, the ensemble brings the streets of London to life with strong vocals, high-energy choreography, and consistently engaging performances.
Set amid the dreary streets of Victorian London, the production evokes the darkness and stark contrasts between the poverty-stricken and the wealthy. Artistic director Al Fuchs brings a clear, sometimes surreal vision to the stage, effectively capturing the show’s energy. Working with set designer AJ Klein and the set construction team of Ernie Jewell and Zach Fisher, Fuchs brings a highly stylized, functional set to life, complete with two levels and multiple playing areas. One of my favorite features is the balcony where Johanna finds solace from her cruel adoptive father. The balcony’s metal bars resemble a twisted birdcage, a striking visual reference to Johanna’s captivity and her introductory song, “Green Finch and Linnet Bird.” Other standout features are the oven and the barber’s chair, both of which loom in the background throughout the story.
Scenic painting by Lauren Clayton establishes London’s gloomy, overcast atmosphere through effective color blocking in black, white, and gray. Combined with Eric Baker’s lighting design, the scenic painting completes the stage’s nightmarish dreamscape. Lighting plays a crucial role in driving the story, particularly because the production does not rely on stage blood. Instead, clever washes of red light effectively suggest the murders taking place. Brian Gensel’s sound design is equally effective in establishing the atmosphere of each scene. I was especially impressed by the echoing effect when characters went down to the ovens. The effect is immersive and quite effective.
Sweeney Todd: The Demon Barber of Fleet Street at Haddonfield Plays and Players is a fitting kickoff to this spooky season. Get your tickets now through October 10, 2026.
*** They/them pronouns are used throughout this article when referring to actors, to respect their identities. Characters are referred to using the pronouns associated with their roles in the original work.
