Kiko Gomersall reflects on this year's Lent Term Musical with enticing lead performances and captivating design, but not quite satiating.

The cast sings the opening ballad to Sweeney Todd - photo by Paul Ashley

The Lent Term Musical is one of the largest commitments to undertake in Cambridge theatre and is met with eager anticipation each year. With a nearly two-month-long rehearsal period and a two-week run extending beyond term, I would like to congratulate the cast and crew for such an achievement. Directing such a show is an enormous undertaking and Em Sparkes deserves recognition for accomplishing such a huge project.

While I was aware of Sweeney Todd mostly thanks to its adaptation in ‘The Office’, listening to the show live struck me with the sheer power of both the ensemble vocals and those of Sweeney himself. The opening and closing numbers did not disappoint, being at once punchy and electrifying. It was evident that they were very well rehearsed and recognition must be given to the Musical Direction team for this. The live band really enhances this experience and should be commended for tackling such tricky pieces of music.

“the LTM should be grand and extravagant…This certainly came out in moments, but I was longing for more.”

Hugo Robijns’ portrayal of Sweeney Todd exhibited both the warmth and depth of a father mourning for his lost family and the power and edge of a serial killer (in the best possible way). It is difficult to humanise such a demonic character, but Robijns has done an exceptional job. Mrs Lovett, played by Freya Cowan was at once playful and tragic, and the two bounced off of each other rather well, especially in the crowd-pleaser number, A Little Priest. Whilst the two were enjoyable to watch, I couldn’t help but feel that in certain moments the levels between them were slightly off, resulting in some dissonance. With that being said, and considering that it was opening night, I think that the pair have done a fantastic job bringing these characters to life.

Another standout performance was Hugo Gregg as Pirelli. Stunning vocals, great characterisation, and perfect comedic timing made his short but extremely entertaining stint on the stage a personal favourite. Additionally, Mathew Weatherhead as Anthony showed impeccable vocal control, with a rendition of Johanna which was fit for a professional production. I was also impressed by Ava Fitzhugh, playing Johanna, who was able to navigate very high, and very difficult songs seemingly with ease.

Whilst I understand that sweeping dance numbers are not characteristic of Sweeney Todd as a show, I did find myself missing this element, as it has almost grown synonymous with the LTM. The absence of this aspect required a strong commitment in another direction, for example, movement or shocking practical effects. The large supporting cast gave the production scope to use movement as a substitute for choreography but at times failed to commit to this direction. Further, blood and gore are such a crucial part of the excitement and novelty of Sweeney Todd, but felt somewhat unconvincing. Given the impressive technical talent involved in the production, I felt this aspect could have been more imaginative.

**“I was amazed by how the stage transformed into what was certainly a Sweeney-worthy set.”**

One final element that struck me was the use of audience interaction, which was perhaps underdeveloped. The success of audience interaction relies on its establishment and possibility from the beginning of the show, but I felt like this aspect somewhat came from nowhere. During moments where characters address the audience directly, a flood light would illuminate the auditorium as characters confronted spectators. This was an interesting idea and I would have liked it to be taken further. For example, it would be amusing to see a willing audience member taken into Sweeney’s barber chair and dropped into the pie shop.

Sweeney Todd (Hugo Robijns) and Mrs Lovett (Freya Cowan) in action - photo by Paul Ashley

“I couldn’t help but wish that the show was bigger.”

On the topic of Sweeney’s barber chair, this piece was a show-stealer. Designed by Angus Cha, the chair was used to dispose of Sweeney’s victims. In a moment it would turn from chair to slide, with the bodies dropping beneath the metro deck in a rather camp fashion. My jaw hung open in shock, and it was clear that the audience eagerly anticipated Sweeney’s next kill to enjoy their rather sudden journey down to the pie house.

Here the Tech Team deserves a special mention. Technical Director and Set Designer Hugh Bowers described to me the five-month-long project of creating the show, and it certainly has come to fruition. I was amazed by how the stage transformed into what was certainly a Sweeney-worthy set. Fly-in sets can often look one-dimensional, but Bower’s set was able to almost seamlessly transform from London street to barber parlour/pie shop/apothecary to the judge’s home.

Overall, the show boasted some impressive production elements and performances, filled with energy from the leads and supporting characters alike. I couldn’t help but wish that the show was bigger. To me the LTM should be grand and extravagant; the audience should be awe-struck with a feeling of ‘how is this a student production?’. This certainly came out in moments, but I was longing for more. Congratulations to the cast and crew, and I wish you all the best for your two-week run!

Sweeney Todd is on at the ADC Theatre until the 23rd of March