REVIEW: Hartford Stage, “Sweeney Todd - The Demon Barber of Fleet Street”

Hartford Stage, Hartford, CT
www.hartfordstage.org
through July 5, 2026
by Shera Cohen

For those who enjoy the works of Steven Sondheim, seeing “Sweeney Todd…” at Hartford Stage is a dream come true. In a sense, the word “nightmare,” might be more accurate. For those who aren’t enamored with this renowned playwright, composer, “Sweeney” should still be in the Top 10 List of musicals to see.

“Sweeney” is dark, both literally and figuratively. The program book sums up the plot about “love, murder, and revenge”. Set in mid-19 th century London is the barber Sweeney Todd, his wife, and baby daughter. Crisis befalls the small family. At the musical’s start, Sweeney’s jail sentence of 15 years has ended as he roams the dregs of the city searching for his wife and child, and for his own life that was snatched from him.

Photo by: T. Charles Erickson

Matt Faucher portrays Sweeney as a man consumed equally with retaliation and despair.
Faucher’s acting chops and exquisite baritone voice are impactful. Indeed, he only has one solo as well as an important duet (“My Friends”). Yet, the character of Sweeney Todd seems to be ever-present – either when actually onstage or referred to – through Faucher’s creation of this tortured man.

Jackie Burns oftentimes screams the personification of Mrs. Lovett, the local pie-maker whose shop deserves a zero-star rating. Yes, the actress’ vocals are a bit too loud; although befitting her character’s personality and life. It’s Burns who has a lot of songs in the repertoire. Burns ingratiates Mrs. Lovett with wit, timing, and cunning. Lovett provides humor as a means to keep herself alive.

The other seven actors portray those who are friend or foe to Sweeney, and as an ensemble, the chorus of a Greek tragedy. They begin and end the sad tale. All are pros.

Willem Butler’s role as Anthony, a young sailor/love interest sings and reprises the loveliest and most melodic piece in the musical, “Johanna”. In turn, Lauren Maria Medina as the ingenue Johanna replies in an upper range soprano voice. Of course, it’s love at first sight amid the horror of their lives.

Tristan Caldwell’s role as Adolfo Pirelli, a con man competing to be the best barber in town, is outright funny. He milks every syllable of his fake Italian accent for as many laughs as possible.

 Without a doubt, Rob Ruggiero (whose home is Theatre Works) is one of New England’s consummate theatre directors. He swiftly moves a multitude of flowing scenes, each with its own signature melody. Many may disagree, but Ruggiero’s choice to add more comic relief than necessary is somewhat incongruous to this exceedingly dark tale. Having seen other “Sweeney Todd” productions, and without giving spoilers, these amusing segments occur in the barber shop. 

Not enough praise can be written about the tech triumvirate of Luke Cantarella (scenic design), John Lasiter (lighting), and Beth Lake (sound), plus each category has two additional creatives.

“Sweeney’s” set is huge, situated across the entire length of the stage, with numerous openings and tiers, many of which surprise the audience enough to say, “Wow!”
 

Lighting is exceptional on what is otherwise a dark set yet oftentimes streams of muted green haze tend to purposely show bits of warmth in the cold shadows.
 

Sound doesn’t just come from the stage; the Chorus resonates as if it is double in size, especially when actors sing from the theatre’s aisles and intersperse within audience sections.

Speaking of sound…where was the band? This is no pit band, but a mini-orchestra with strings, horns, brass, and percussion hidden inside the set unbeknownst to the audience. Wiley DeWeese conducts.
 

Bravo to the teams at Hartford Stage and Theatre Works for mounting “Sweeney,” working hand-in-hand to create, design, and promote perhaps what each theatre might produce extremely successfully, yet together make for superb theatre. Even more than that accolade is the coupling itself. The arts in our country seek help in numerous ways; primarily financially. HS and TW override the “me for myself” competition to acknowledge that, at least in the case of “Sweeney,” playing together is better for all, including audiences.

Note: Not recommended for younger audiences.