Sweeney Todd Sondheim's Masterpiece
TheaterWorks Hartford and Hartford Stage
By: Karen Isaacs - Jun 27, 2026
With its intricate harmonies and its story of revenge and madness, it is easy to see why Sweeney Todd is considered Sondheim’s masterpiece. It’s also understandable why the show has been performed in opera houses as well as small intimate venues throughout the world.
Sweeney is the first co-production of Hartford’s two major theaters: TheaterWorks Hartford and Hartford Stage. The two combined resources for this demanding work. It uses the expansive space at Hartford Stage, while calling on the talents of the Artistic Director and award-winning Director Rob Ruggiero of TheaterWorks to stage the musical. The production team includes veterans of both Hartford Stage and TheaterWorks productions as well as some new people.
The result is a production that rivals any I have seen before, including the recent Broadway, revival with Josh Groban and Annaleigh Ashford
It is must see theater. It runs through Sunday, July 5.
This production could be considered a chamber version. The cast is just nine actors, most of whom perform not only multiple roles as well as serve as the ensemble. This is not unusual; a Broadway production directed by John Doyle had the cast members play instruments as well.
The story is based on a 19th century Penny Dreadful story about a man who renamed himself Sweeney Todd. Sondheim’s Sweeney Todd or the Demon Barber of Fleet Street, which used a 1970 play by Christopher Bond as inspiration, fleshes out the story. Sweeney was falsely imprisoned and sent to Australia because Judge Turpin fancied Sweeney’s attractive wife. Years later, Sweeney escapes and returns to London with the sole purpose of exacting revenge.
Unfortunately, his single-mindedness morphs into both an obsession and madness, and by the end of the musical he has destroyed almost everything he has loved
Ruggiero did an outstanding job casting the show. Matt Faucher, both a Connecticut native and familiar to audiences here, plays Sweeney as haunted by the past and so single-minded in his goal that he is blind to all around him. He handles the challenging score which ranges from the sweet “Pretty Women” to the soliloquy-like “Epiphany” with easy. It’s an interesting sidebar that though Sweeney is the title character, he has only one solo; most of his music is duets, trios or ensemble number.
Jackie Burns as Mrs. Lovett needs to combine flirtatiousness, maternal instincts, and cold-hearted practicality while also being responsible for much of the humor in the piece. Burns does it superbly and shines in everything from “The Worst Pies in London,” to the comic “A Little Priest,” to “Not While I’m Around.” Musically she does the heavy lifting in the score.
I have always felt that the role of Johanna, played by Lauren Maria Medina, is the most difficult in the show; it is hard to understand her character. But Medina does well, displaying a lovely soprano voice in “Green Finch and Linnet Bird.”
Both William Buttle as Anthony, the sailor who helps Sweeney and then falls in love with Johanna, and Cole Thompson as Tobias, who leads to the unraveling of Sweeney, are fine. Each shines vocally in their numbers – Butler with “Johanna” and Thompson with “Not While I’m Around.” One could argue that Judge Turpin, played by Edward Watts, could be more venial, but he too shines vocally in several numbers.
Scenic Designer Luke Cantarella has created a multifaceted set creating two playing levels; the stage itself and then a second level for Sweeney’s shop, the judge’s home and other locations. No revolving sets are needed; it’s straightforward but functional setting the scene of London. While Cantarella has worked at great deal at TheaterWorks, John Lasiter, responsible for the remarkable lighting design, has worked at both venues, though more at TheaterWorks. Fabian Fidel Aguilar has created costumes that contrast the poverty of Sweeney and Mrs. Lovett with the wealth of Judge Turpin and Johanna. Beth Lake’s sound design balances the voices, the off-stage 10-orchestra and the effects.
Music Director Wiley DeWeese, new to both theaters, has done a great job working with the singers. It is a difficult vocal score, yet the lyrics are understandable and the voices blend in the multiple duets, trios, and quartets. How the singers manage not to ruin their voices is a secret I would like to learn.
It’s easy to forget that though the show has shocking elements, it also features some of Sondheim’s most beautiful songs.
For tickets visit HartfordStage.org
This content is courtesy of Shore Publications and Zip06.com