SWEENEY TODDTHE DEMON BARBER OF FLEET STREETA MUSICAL THRILLER

BEN MINGAY IS

Taryn Fiebig, Soprano

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Musical Director & Chrous Master Brett WeymarkDirector Stuart Maunder AMSet & Costume Designer Roger KirkLighting Designer Philip LethleanSound Designer Jim AtkinsSound Operator Jeremy TurnerBenjamin Barker/Sweeney Todd Ben MingayMrs Lovett Antoinette HalloranJudge Turpin James ClaytonBeadle Bamford Matt Reuben James WardAdolfo Pirelli Paul O’NeillAnthony Hope Nathan StarkJohanna Barker Emma PettemeridesBeggar Woman Fiona CampbellJonas Fogg Mark AldersonEnsemble Fiona Cooper-Smyth, Naomi Johns, Penny Shaw, Sonni Byrne, Chelsea Kluga, Anne Millar, Jonathan Brain, Perry Joyce, Matt Dixon, Callen Dellar, Mark Hurst

Stage Manager Karen FarmerAssistant Stage Manager Jacinta WajonMechanist Raff erty DobsonRepetiteur Tommaso PollioHead of Wardrobe Sue KerrWardrobe Assistant Dani PaxtonDresser Mandy ElmittDresser Pauline ClaytonDresser Nora StelterDresser Sacha MahboubDresser Holly SansaloneHead of Wigs Virginia HawdonWigs Assistant Philip CoxWigs Assistant Christopher LyonsHead of Make Up Sharon KrywoodProp gun maker Louise GrimshawProgram Notes Annie PatrickWAAPA Stage Management secondment student Claire Mayers

7.30pm His Majesty’s Theatre13, 16, 18, 20 July 2019

SWEENEY TODDTHE DEMON BARBER OF FLEET STREET

A MUSICAL THRILLER Music and Lyrics by

STEPHEN SONDHEIM

BEN MINGAY IS

From an Adaptation by CHRISTOPHER BOND

Originally produced on Broadway by Richard Barr, Charles Woodward, Robert Fryer, Mary Lea Johnson, Martin Richards.

In Association with Dean and Judy Manos.Licensed exclusively by Music Theatre International (Australasia).

Originally Directed by Harold PrinceOrchestrations by Jonathan Tunick.

Book by HUGH WHEELER

dehumanised and power was in the hands of an often very corrupt few. Does it have relevance still to a modern 21st century audience? Well, just watch the nightly news.

From the opening passacaglia in the organ whose ominous presence dominates the score to the very first words of the work, “Attend the tale of Sweeney Todd” Sondheim asks us to sit up and pay attention much like he does in Assassins and warns us in the final chorus that: “nothing can help, no one can hide you, isn’t that Sweeney there beside you?” The work poses the question: are we all capable of the atrocious acts of Sweeney, the Judge and Lovett if pushed far enough? The answer is probably yes.

Musically, Sondheim employs signature motifs for most of the principal characters that are re-imagined in the work deepening the role of the orchestra as a key player in the drama. The opening “riff” in the orchestra before the first words are sung for example becomes the melody in Todd’s “These are my friends” where he is reunited with the tools of his trade, his razors. It is then the DNA for Tobias’ “Nothing’s gonna harm you” in Act Two where Tobias warns Lovett of the potential harm posed by her friendship with Todd. This small musical device links the character of Todd with all the other players in the drama and keeps him in our musical imaginations even when he is not physically present on stage.

Sweeney Todd, the Demon Barber of Fleet Street is without a doubt Sondheim’s most virtuosic work and his darkest masterpiece. From the single minded dramatic motivation of the principal characters to his extraordinary deployment of the rich orchestral forces, it is his most operatic piece informed by years of trial and error in works such as Company, Follies and Pacific Overtures.

It is almost 20 years since I was in a production of Sweeney Todd as a member of the ensemble in Gale Edwards’ production for Opera Australia but what I remember from that time was the intensity of the experience. The story of revenge that blinds Todd to perform unspeakable acts of violence in serial killer fashion is harrowing and while there is a good deal of humour in the work, it is a black comedy where our laughter is only matched by our uncomfortableness.

Sweeney Todd should be a deeply unsettling experience for both the audience and the performer, an acknowledgement that extremity of experience can result in the most horrendous of crimes. When pushed far enough by a system of inequality, hypocrisy and injustice, people will do unimaginable acts just to survive. The factory whistle that is such a prominent feature of the score reminds us that we are in the height of the industrial revolution in London where people have become

Musical Director and Chorus Master

“Freely flows the blood of those who moralise…”

Other devices are the use of the Dies Irae theme first heard in the opening chorus on “Swing your razor wide, Sweeney”. The score is at once succinct and tightly constructed but at the same time oozes with variety from the black music hall waltz of “A little priest” to the quasi-operatic arias for Johanna to the vaudevillian dexterity of the patter song for Lovett’s opening number, “Worst pies in London”. Each character seems to have their own musical imprint.

Sondheim’s use of the chorus is not unlike that in other works such as Merrily We Roll Along in that there is an element of the greek chorus about it, commenting on the action, communicating directly with the audience, participants but also spectators. They remind us that what we are seeing is reality through the lenses of a heightened theatrical construct.

The piece plays with both the real and the artificial. It is this level of sophistication that allows us to contemplate what is a heart of this work, a corrupt society that is dealing with abuse, rape, cannibalism, capitalism and corruption.

Much like the use of the play within the play of Hamlet, Sondheim is using the very vehicle of musical theatre to reveal the truth. And that truth is the about what motivates people.

If you take the premise that desire is at the heart of Sweeney Todd, the characters we meet are real but at the same time representations. They are, if you like, Hamlet’s players, archetypal symbols representing what single-minded desire looks like and results in.

For Todd, it is the work of revenge, for Lovett, material wealth at any cost, the Judge, sexual lust for Johanna despite his better knowledge, Johanna, escape from the Judge even with a man whose name she doesn’t even know and Tobias, a desire for love and affection, a sense of a home.

This is where the rich libretto truly comes into play. It features Sondheim’s signature rhyming “shopping lists” but at the same time, economy of prose tells us so much about the background and motivation of these people. We find out so much of Lovett’s lot from her very first number through such a concise use of language. It is a work where the text is as strong as the music and one is the perfect compliment to the other.

It is little wonder then that opera companies around the world have embraced this work and while there are plenty of nods to the music theatre world Sondheim learnt from his mentor Oscar Hammerstein, there is something larger than life about the characters and their stories that make Sweeney Todd such perfect operatic fare.

I am thrilled to be the conductor of this production with such a fine director as Stuart Maunder, a classy act of triple threats in the cast and the wonderfully fine playing of the West Australian Symphony Orchestra.

“What happens next, well, that’s the play and he wouldn’t want us to give it away, not Sweeney, not Sweeney Todd, the demon barber of Fleet Street.”

Brett Weymark Musical Director and Chorus Master

Director’s Message‘It was the worst epoch of the Industrial age; there has never been such poverty or drabness of life…It is no wonder that the joys of people took on a somewhat ferocious tinge, that they loved melodrama, crudities of blood and terror and the cheap beauties of tinsel’ - The Dance of the Quick and the Dead: Sacheverell Sitwell, 1936

In 1978 as a young stage manager and recently converted Sondheim ‘tragic’, (a friend had given me the double LP ‘Side by Side by Sondheim’…addicted) I had devoured the then extraordinary output of this giant of music theatre, from West Side Story to Pacific Overtures. Sweeney Todd was my first opportunity to discover a new Sondheim. Knowing not a word of it, with no performance history to guide me, no Youtube, no videos, no libretto just vinyl and photos on the sleeve I listened, and listened loud.

Nothing prepared me for the visceral feeling of terror I experienced; the Gothic organ voluntary, the piercing factory whistle, the power of the chorus interjections, the painful and horrific story telling, the tunes, the black humour. My response has not diminished in the 30 odd years since that ‘Road to Damascus’ experience. The terror still thrills.

From the first words ‘attend the tale of Sweeney Todd’ we know this is a period piece, an allegory, a ‘tale’ that has often been told across the generations, an urban myth, a cautionary tale ... and it’s deliciously scary; dark, sinister... and thrilling.

This grizzly story of our homicidal barber appeared as early as 1825 in a pamphlet entitled The Tell Tale, based on an earlier account in Joseph Fouché’s Archives de la Police. In these early versions the details of the crimes are the same: a Parisian barber cuts the throats of his clientèle, steals their worldly goods, and then has a pastry chef mince their bodies into pies.

A 1846 serial novel The String of Pearls, A Romance, by Thomas Peckett Prest captured the popular Victorian imagination. Even Charles Dickens mentions the tale in Pickwick Papers where he warns his readers to only buy pies from cooks they know.

The theatrical ancestor to our Sweeney was a 1847 melodrama by George Dibdin-Pitt titled The String of Pearls, or the Fiend of Fleet Street. For today’s audiences the term ‘melodrama’ has judgmental connotations and is associated with mawkish sentiment, delicious villany and a high minded moral.

The cast are stock standard: the sweet heroine, a black hearted villain, the buff hero and, of course, goodness triumphs in the end.

‘As one reads history, not in the expurgated editions written for schoolboys and passmen, but in the original authorities of each time, one is absolutely sickened, not by the crimes that the wicked have committed but by the punishments that the good have inflicted; and a community is infinitely more brutalized by the habitual enjoyment of punishment than it is by the occasional occurrence of crime.’ - Oscar Wilde: The Soul of Man under Socialism 1891

Stephen Sondheim and his librettist Hugh Wheeler used as their starting point a 1973 reworking of the melodrama by Christopher Bond. Here Sweeney Todd has a cause: just revenge. This Sweeney murders for reasons other than monetary gain, a man at the mercy of a brutal society and forced to seek out an existence in the underbelly of human suffering that was Victorian London. It is only after his just pursuit for vengeance is foiled and he realises his impotence against the Victorian social system does he crack and transform into a charismatic homicidal maniac, aided and abetted by a totally charming accomplice who is prompted by two of those great deadly sins: lust and greed.

Although officially subtitled a ‘Musical Thriller’ Sweeney Todd has been categorised as an opera, a musical, a musical play, an operetta and almost every other musical or dramatic form.

Sondheim himself describes his Sweeney as “a musical horror.” Does it matter? Perhaps not. The piece is without doubt one of the most powerful, dramatic and theatrical horror tales ever set to music. And all the more thrilling in that for all its melodrama, blood and gore it tells a very universal human story; Revenge, obsession and lust, yes, but also pain, yearning, even love.

In a society where the weak get weaker and the powerful more powerful, how easy is it for a man to revert to his base instincts? Violence and brutality are often the result. Not all turn into homicidal maniacs of course, but we still ‘get’ this tale. The language is archaic, the musical is operatic in scale, the setting is Victorian England but in this most thrilling of musical treatments we can make the leap... this is a tale for our times.

Stuart Maunder AM Director

Welcome to Sweeney Todd: The Demon Barber of Fleet Street.

Opera is a beautiful but expensive art form and we appreciate the invaluable support of sponsors, partners, trusts, foundations, patrons, donors, and our audiences. Your attendance plays an important role in the life of West Australian Opera and I encourage you visit waopera.asn.au to learn more about our activities and performances.I acknowledge Principal Partner Wesfarmers Arts who have been the foundation of our partnership portfolio for many years and I thank Major Partners Healthway, the Minderoo Foundation, Civic Partner the City of Perth, JCDecaux and Offi cial Airline Partner Qantas. We are grateful for the continued support of the Federal Government through the Australia Council and the State Government through the Department of Local Government, Sport and Cultural Industries.

For over 50 years, West Australian Opera has been Western Australia’s full time, professional opera company. We invite you to come on this journey with us, learn more about our upcoming events and performances at www.waopera.asn.au I am confi dent you will enjoy this production, and hope for your continued support of and active engagement with West Australian Opera.

Chairman’s MessageVice Regal Patron’s Message

As Vice Regal Patron of West Australian Opera, I am pleased to see that the state opera company is presenting this wonderful season of Sweeney Todd: The Demon Barber of Fleet Street.

With music and lyrics by Stephen Sondheim, and book by Hugh Wheeler, this production is directed by Stuart Maunder and conducted by Brett Weymark. I understand that Sondheim drew his inspiration for this work from the Alfred Hitchcock stories. He sought to craft a musical thriller with a story that created genuine fear, suspense and tension for his audience.

In addition to world-class opera, West Australian Opera off ers education and community programs, school workshops, regional touring and young artist development through the Wesfarmers Arts Young Artist Program. These initiatives contribute signifi cantly to our arts and cultural fabric.

I join the company in acknowledging the generous support of both State and Federal governments, Principal Partner Wesfarmers Arts and private donors and corporate supporters who enable this work to occur.

Andrew PascoeCHAIRMAN West Australian Opera

The Honourable Kim Beazley AC Governor of Western Australia Vice Regal Patron West Australian Opera

This production from Victorian Opera and New Zealand Opera was bought to life by a wonderful creative team including Roger Kirk (set and costume), Philip Lethlean (lighting), Jim Atkins (sound), Stuart Maunder (director) and for the first time the company is under the baton of Brett Weymark. With music and lyrics by Stephen Sondheim and book by Hugh Wheeler, the tale of Sweeney Todd is filled with bloodshed and vengeance. Benjamin Barker, with Ben Mingay in the title role, once had it all but tragedy, heartache and a brutal act of betrayal have led him down a spiral of despair. When Barker returns to London and assumes a new identity, Sweeney Todd, the Demon Barber of Fleet Street, he meets the pie-maker Mrs. Lovett, and they plot revenge on those who have exiled them to the outer margins of society.

We are proud to present this season to you. We are the oldest opera company in Australia still trading under the same name and same constitution in the same place and at West Australian Opera we love the arts. We want to present opera that moves you, enchants you and makes you think about the magic of being alive in the world today. We speak to the heart through the human voice. We share the joy of music, theatre, dance, acting, visual arts. We bring people together and make them feel alive by igniting emotions and imaginations with the power of sung stories.

Executive Director’s Message

But we are just one part of the Australian story - we support the whole of the arts sector, its artists, audiences and supporters. Art lies at the heart of our community. There is much research that speaks to the power of the arts to nurture the soul; to soften the hardness of everyday life.

Carolyn Chard AM EXECUTIVE DIRECTOR West Australian Opera

Music can follow you wherever you go. Getting involved in the arts provides a sense of joy and inspiration, and can be a healthy distraction from everyday

worries. It’s as simple as A-B-C: Act-Belong-Commit. To find out more ways to stay mentally healthy, visit actbelongcommit.org.au

Inspire health and happiness with music

It’s as simple as A-B-C!

Music can follow you wherever you go. Getting involved in the arts provides a sense of joy and inspiration, and can be a healthy distraction from everyday

worries. It’s as simple as A-B-C: Act-Belong-Commit. To find out more ways to stay mentally healthy, visit actbelongcommit.org.au

Inspire health and happiness with music

It’s as simple as A-B-C!Stephen SondheimMusic and Lyrics

Stephen Sondheim wrote the music and lyrics for Saturday Night (1954), A funny thing happened on the way to the forum (1962), Anyone can whistle (1964), Company (1970), Follies (1971), A Little Night Music (1973), The Frogs (1974), Pacifi c Overtures (1976), Sweeney Todd (1979), Merrily we roll along (1981), Sunday in the park with George (1984), Into the Woods(1987), Assassins (1991), Passion (1994) and Road Show (2008) as well as lyrics for West Side Story (1957), Gypsy (1959) and Do I hear a waltz? (1965) and additional lyrics for Candide (1973).

Anthologies of his work include Side by Side by Sondheim(1976), Marry me a little (1981), You’re gonna love me tomorrow (1983), Putting it together (1993/99) and Sondheim on Sondheim (2010).

He composed the scores of the fi lms “Stavisky” (1974) and “Reds” (1981) and songs for “Dick Tracy” (1990) and the television production “Evening Primrose” (1966). His collected lyrics with attendant essays have been published in two volumes: “Finishing the Hat” (2010) and “Look, I Made A Hat” (2011).

In 2010 the Broadway theater formerly known as Henry Miller’s Theatre was renamed in his honor.

Hugh WheelerAuthor

Hugh Wheeler was a novelist, playwright and screen writer. He wrote more than thirty mystery novels under the pseudonyms Q. Patrick and Patrick Quentin, and four of his novels were transformed into fi lms: Black Widow, Man in the Net, The Green-Eyed Monster and The Man with Two Wives. For fi lms he wrote the screenplays for Travels with My Aunt, Something for Everyone, A Little Night Music and Nijinsky. His plays include Big Fish, Little Fish (1961), Look: We’ve Come Through (1961) and We Have Always Lived in the Castle (1966), adapted from the Shirley Jackson novel, he co-authored with Joseph Stein the book for a new production of the 1919 musical Irene (1973), wrote the books for A Little Night Music (1973), a new production of Candide (1973), Sweeney Todd, the Demon Barber of Fleet Street (1979, based on a version of the play by Christopher Bond), and Meet Me in St. Louis (adapted from the 1949 M-G-M musical), contributed additional material for the musical Pacifi c Overtures (1976), and wrote a new adaptation of the Kurt Weill opera Silverlake, which was directed by Harold Prince at the New York Opera.

He received Tony and Drama Desk Awards for A Little Night Music, Candide and Sweeney Todd.

Prior to his death in 1987 Mr. Wheeler was working on two new musicals, Bodo and Fu Manchu, and a new adaptation of The Merry Widow.

Stuart Maunder AM Director For the last thirty years Stuart has been directing musical theatre and opera in Australia. He joined The Australian Opera as Stage Manager in 1978, becoming a Resident Director in 1981. In 1992 he joined The Royal Opera (UK) as a Staff Director whilst continuing to direct in Australia, regional UK, France and the USA.

In 1999 Stuart was appointed Artistic Administrator of Opera Australia, becoming Executive Producer 2004 - 2008 . His OA productions include Tales of Hoffmann, Manon, Gypsy Princess, Don Pasquale, My Fair Lady and A Little Night Music. His Trial by Jury, HMS Pinafore and Pirates of Penzance have been televised nationally on ABC TV.

Recent Australian productions have included Cunning Little Vixen, Into the Woods, Sunday in the Park with George and Sweeney Todd (Victorian Opera) Tosca, La Boheme and The Cunning Little Vixen (West Australian Opera) and Candide and The Mikado (New Zealand Opera).

Stuart is currently Artistic Director of State Opera South Australia.

Roger Kirk Set & Costume Designer

Roger Kirk is a Tony Award-winning set and costume designer for theatre, film and television. He has designed costumes for productions such as The Boy From Oz with Hugh Jackman, The King and I and King Kong the Musical. Roger was the costume designer for the film Jesus Christ Superstar, other credits include Andrew Lloyd Webber’s Whistle Down The Wind (London), The King and I (London Palladiu), Hugh Jackman’s The Boy from Oz Arena Spectacular, Silver Rose, Le Corsaire for Munich Opera House, Dusty – The Original Pop Diva, and Shout!. His Broadway credits include The King & I (Tony Award), Jesus Chris Superstar, and 42nd Street (Tony Award Nomination).

Roger’s most recent credits include Sweeney Todd for Victorian Opera, Miracle City for Luckiest Productions, King Kong on Broadway, 42nd St in London and sell-out shows in Sydney and Melbourne for Hugh Jackman’s Broadway to Oz: Hugh Jackman Live in Concert, World Tour.

Brett Weymark Musical Director and Chorus Master

Brett Weymark is currently the Music Director of The Sydney Philharmonia Choirs - a post he has held since 2004.

He has conducted the Hong Kong Philharmonic Orchestra, The Orchestra of the Antipodes, and the Sydney, Melbourne, Tasmanian, Queensland and West Australian Symphony Orchestras.

He has conducted many world premieres of works by composers such as Peter Sculthorpe, Dan Walker, Paul Stanhope, Elena Kats Chernin, Andrew Schultz and Matthew Hindson.

Recent highlights have included the world premiere of Paul Stanhope’s Jundamarra with the Sydney Symphony as well as conducting their Tea and Symphony and Mozart in the City series, Handel’s Messiah for New Zealand Symphony, Purcell’s King Arthur for Brisbane Baroque, ANZAC Day concerts for the Queensland Symphony, Haydn’s Creation with the Hong Kong Philharmonic Orchestra, Bach’s St John Passion with the Sydney Philharmonia Choirs, Handel’s Jephtha and Susanna for Handel in the Theatre (Canberra) and acting as Chorus Master in Adelaide Festival’s production of Saul.

Ben Mingay Benjamin Barker / Sweeney Todd

Ben was originally a construction worker from Newcastle who fell into classical music when he was dared to audition for the Conservatorium of Music by his mates. He subsequently won a scholarship and went on to train in Opera Voice for several years – a twist of fate that changed the trajectory of his life forever.

Stage credits include: Evan in Vivid White; Jud Fry in Oklahoma; Achilles in Paris – A Rock Odyssey; Thomas in Rolling Thunder Vietnam; The Phantom in The Phantom of the Opera; Zack Mayo in An Officer and a Gentleman; Tommy De Vito in Jersey Boys; Billy Kostecki in Dirty Dancing; Stewpot in South Pacific; Billy in Sideshow Alley and Berger in Hair. Ben is also a member of the hit singing group Swing On This.

Screen credits include: Jim in Frayed; Alan Bond in House of Bond; Grease Nolan in Hacksaw Ridge; Trystan Powell in Home and Away; Rob Duffy in Wonderland; Buzz Graham in Packed To The Rafters; Troy Baxter in Blue Heelers and Jim Beatson in All Saints.

Jim Atkins Sound Designer

Jim Atkins designs and mixes sound for a host of live, installed and recorded situations nationally and internationally. Recent highlights include One Infinity (Melbourne, Sydney and Perth Festivals); The Black Rider and Lorelie (Victorian Opera/Malthouse); En Masse (National Sawdust New York); Pleasure Garden (Sydney Festival, Norfolk and Norwich Festival, City of London Culture Mile), Armand Van Helden (Melbourne Symphony Orchestra); 24 reasons to Party (Kate Ceberano /Adelaide Symphony Orchestra); Setan Jawa (AsiaTOPA/ Humboldt Forum Kultur, Berlin); Between 8&9 (Chamber Made, Castlemaine Festival, Chengdu China); National Geographic, Symphony for our World (Adelaide Festival); Carmen in the Square (State Opera South Australia); Absolute Bird, Sounds of the Outback (City of London Sinfonia); Sweeney Todd (Victorian State Opera/New Zealand Opera)

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Philip Lethlean Lighting Designer

Philip Lethlean is a Melbourne based lighting designer with 30+ years experience in projects across Australia, Asia, Europe and America including theatre, opera, dance, circus, puppetry, opening ceremonies and architecture.

Commissions include the Melbourne International Comedy Festival (2014 -2019), the opening ceremony of the Pacific Games in PNG, Clusters of Light in Sharjah UAE , How to Train Your Dragon for Dreamworks/Gobal Creatures , White Night Melbourne ,the Australian Pavilion at Expo Shangahai and Aichi Japan and the opening of Hamer Hall in Melbourne . Theatre works include began with all of Handspan Thetre’s work and include :the English National Ballet, The Australian Opera, the Melbourne Theatre Company, Circus Oz Victorian Opera . and Malthouse theatre.

Philip is a recipient of an Australia Council for the Arts, Creative Fellowship and has received numerous Helpmann and Green Room nominations and awards.

Antoinette Halloran Mrs Lovett

A multi-Helpmann Award nominee, Antoinette Halloran’s most recent engagements have included the title roles in Tosca for West Australian Opera and The Merry Widow for State Opera of SA, The Fox in The Cunning Little Vixen for Victorian Opera and associate artist for José Carreras’ National Tour. In 2019, she sings The Fox in Adelaide and Lady Macbeth (Macbeth) in Perth.

Leading appearances for Opera Australia have included the title roles in Madama Butterfly and Rusalka, Mimi in La bohème, Stella in A Streetcar Named Desire (Green Room Award) and many others; for New Zealand Opera – Mimi, Cio-Cio-San and Mrs Lovett; for Victorian Opera – Fiordiligi in Così fan Tutte, Adina in L’elisir d’amore and Mrs Lovett (Helpmann Award nomination).

Antoinette also featured as a guest judge and panelist on the ABC television series Operatunity Oz and has appeared regularly on the hit show Spicks and Specks; she was a presenter for ABC’s Art Nation – covering stories on opera and music theatre.

Matt Reuben James Ward Beadle Bamford Most recently Matt performed Dan Kelly in Ned Kelly for Lost & Found Opera as part of the 2019 Perth Festival and for ABC Classical FM. Notable credits include the Messenger in Stephen Fry’s Life to Come (Britten Theatre, London), Western Union Boy in English Touring Opera’s Olivier Award Winning Paul Bunyan (Linbury Studio Theatre Royal Opera House Covent Garden, UK tour), Giacomo in L’assedio di Calais (Armel Operafesztivál Budapest, Arte TV live broadcast, ETO), Frantz in Tales of Hoffmann (ETO, UK tour), Monostatos in Die Zauberflöte (Mid Wales Opera), Borsa in Rigoletto (Opera Project), Jiminy Cricket in Pinocchio (Charles Court Opera London). For WAO Matt has performed as the School Master in The Cunning Little Vixen, Parpignol in La Boheme, Mercury in Orpheus in the Underworld and Remendado in Carmen. Matt holds a Master of Performance from the Royal College of Music London as the Yvonne Wells Award Scholar and a Bachelor of Classical Voice from the Western Australian Academy of Performing Arts.

James Clayton Judge Turpin

In 2018, James Clayton sang Marcello (La bohème), Escamillo (Carmen), Leporello (Don Giovanni) and The Forrester (The Cunning Little Vixen) for West Australian Opera; he appeared in concert with the Tasmanian and West Australian Symphony Orchestras and Orchestra Wellington. In 2019, he sings Germont (La traviata), Judge Turpin (Sweeney Todd) and the title role in Macbeth in Perth, The Forrester in Adelaide and Peter (Hansel and Gretel) in Melbourne.

James made his Opera Australia debut as Baron Douphol in La traviata (in Handa Opera on Sydney Harbour) and his Japanese debut as Don Alfonso in Cosi fan tutte for Biwako Hall. 2016/2017 appearances included Tonio (Pagliacci) for Victorian Opera, Scully (The Riders) for West Australian Opera, Escamillo and the title role in The Mikado for New Zealand Opera.

Concert engagements have included Messiah and Le damnation du Faust (NZSO), Mass in Time of War and Puccini’s Messa di Gloria (TSO), Beethoven’s Symphony No. 9 and Verdi’s Requiem (West Australian Symphony Orchestra).

Joshua RecklessTobias Ragg

Born and raised in North Western Sydney, Joshua is a recent graduate from the Western Australian Academy of Performing Arts (WAAPA) in 2018 with a Bachelor of Arts: Music Theatre.

Josh has always loved the performing arts. He discovered dance when he was quite young, and at the age of 12, Josh was introduced to the amateur Music Theatre community and never stopped performing. Joshua graduated high school and dropped everything to fl y across the country to begin his training at WAAPA.

During his studies, Josh played roles such as Usnavi in In The Heights [dir. Crispin Taylor], Dennis in Sunday in the Park with George [dir. Tyran Parke], Captain Watson & Ensemble in Carousel [dir. Jason Langley], Bandleader and Andrew Jackson understudy in Bloody Bloody Andrew Jackson [dir. Shaun Rennie], and Ralph in Lord of the Flies [dir. Crispin Taylor].

Joshua professionally debuted as General Tom Thumb in Barnum (Storeyboard Entertainment) earlier this year.

Paul O’NeillAdolfo Pirelli/ Daniel O’Higgins

Australian tenor Paul O’Neill has, over the past decade, forged a compelling international career in opera houses and concert halls throughout Europe and Australasia.

Most recently, he sang Don José in Carmen for West Australia Opera, Rodolfo in La bohème for Opera Australia, the title role in Faust for Theater Münster, Pinkerton (Madama Butterfl y) throughout China and Cavaradossi (Tosca) in both Perth and Magdeburg. 2019 engagements include, Narraboth (Salome) for Opera Australia, Sweeney Todd and Macbeth for West Australian Opera, The Cunning Little Vixen for State Opera of SA and major concert appearances with the West Australian and Tasmanian Symphony Orchestras.

Other roles include: The Duke in Rigoletto with Opera Holland Park, Opera Australia, West Australian Opera, Staatstheater Karlsruhe and Staatstheater Mainz; Turridu in Cavalleria rusticana, Cavaradossi in Tosca, Carlo VII in Giovanna d´Arco for Theater Bielefeld; Jason in Médée for Theater Bielefeld and Staatstheater Mainz and The Italian Tenor (Der Rosenkavalier) for Berlin Staatsoper.

Nathan StarkAnthony Hope

Sydney born tenor, Nathan Stark graduated in Music Theatre from the Western Australian Academy of Performing Arts in 2016 and has since been forging a career as a cross-over artist.

Nathan sings with the West Australian Opera Chorus and has performed in their productions of La Traviata, Don Giovanni, The Cunning Little Vixen, La Boheme, Lucia di Lammermoor and The Merry Widow. He has also toured with WA Opera’s education program, Our Opera Our WA.

Nathan recently performed in the ensemble for the world premiere of Mimma! The Musical and last year made his Black Swan State Theatre Company debut playing Guissepe Zangara in Assassins. In concert, he has appeared alongside Silvie Paladino in Melbourne Art Centre’s Morning Melodies - Christmas Melodies at Hamer Hall. Nathan is also a long serving tutor with the Australian Girls Choir and has regularly conducted at the Perth Concert Hall.Sweeney Todd marks Nathan’s principal debut with the West Australian Opera.

Mark AldersonJonas Fogg

Mark completed his Bachelor of Music at the University of Western Australia in 1996. He completed further studies at the Australian National Academy of Music and the Opera School Wales.

Mark was young artist for the West Australian Opera in 1998 and 1999. Roles include Harasta in The Cunning Little Vixen, Schaunard in La Boheme, Antonio in The Marriage of Figaro, Wagner in Faust, Betto in Gianni Schicchi, Dancairo, Morales and Zuniga in Carmen, Cascada and Pritschich in The Merry Widow, Fiorello in Il Barbiere di Siviglia, and Gregorio in Romeo et Juliette.

Mark has also been part of the Opera Company’s regional tours to Kalgoorlie, Mandurah, Geraldton, Broome, the Valley of the Giants, and the Pinnacles. Mark has been a member of the West Australian Opera Chorus since 1994.

With a wide variety of oratorio repertoire, Mark has been baritone soloist for works such as The Messiah, The Creation, The Christmas Oratorio, St John Passion and Elijah. He has worked with The University Choral Society, Perth Oratorio Choir, Collegium Symphonic Chorus, St George’s Cathedral and Albany Choral Society.

Fiona CampbellBeggar Woman / Lucy Barker

Fiona Campbell is one of Australia’s most versatile and beloved classical singers - the winner of the national Limelight Award for Best Solo Performance 2011 and vocal winner of the ABC Young Performer of the Year Award and the ASC Opera Awards.

Fiona sings regularly as a principal artist with all of the major ensembles and orchestras in Australia and with Opera Australia, Opera Queensland and WA Opera. Her international collaborators have included the Brodsky Quartet, Tokyo Philharmonic, Manchester Camerata, Prague Chamber Orchestra, Hong Kong Philharmonic and Glyndebourne Festival Opera.

Career highlights include several concerts with the legendary tenor José Carreras in Japan, Korea and Australia. She made debut at Suntory Hall in Tokyo and Cadogan Hall in London with the renowned international soprano Barbara Bonney. In 2018, Fiona sang Messiah with the Adelaide, Tasmanian and West Australian Symphony Orchestras, Debussy’s Ariettes oubliés with the Melbourne Symphony and Beethoven’s Symphony No. 9 in Perth.

Emma PettemeridesJohanna Barker

A graduate from the Royal Northern College of Music, Emma has performed a wide variety of roles including; Valencienne The Merry Widow, Laurey Oklahoma, Carlotta Phantom of the Opera, Barbarina Le Nozze di Figaro, Leila Manifest Destiny, May-Queen Merrie England, Annio La Clemenza di Tito, Lisa La Sonnambula, Tytania A Midsummer Night’s Dream (Britten), Elena Paride ed Elena, Susan A Dinner Engagement, Rose Street Scene, and La Musica L’Orfeo. Emma made her debut as a principal with West Australian Opera in 2017 as Valencienne in The Merry Widow. Other performances with the company include; Lucia di Lammermoor, The Pearl Fishers, Madama Butterfl y, The Magic Flute, Otello, La Boheme, Don Giovanni, La Traviata, Götterdammerung, Carmina Burana and the world premiere of Nostradamus. She has also performed in productions of; La Belle Helene, The Threepenny Opera, Cosi Fan Tutte, and Susannah (Floyd).

She has been a regular performer for the West Australian Opera outreach program and is an ambassador for Healthways’ Smarter than Smoking campaign. Emma is a regular soloist for local companies Perth Symphony Orchestra and Freeze Frame Opera and recently performed as a soloist for the Vienna Pops and Best of British at the Perth Concert Hall.Her performance highlight to date is singing for the late Dame Joan Sutherland’s 80th birthday in her presence.

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Sweeney Todd returns to London seeking revenge on Judge Turpin, who destroyed his family and sent him on trumped-up charges to the colonies. With him is a travelling companion, a sailor named Anthony Hope. After chasing away a mysterious beggar woman, Sweeney fi nds his former digs, a barbershop above a rundown pie shop owned by an old acquaintance, Mrs. Lovett. When she recognises him as Benjamin Barker, her amorous objectives are aroused. But Sweeney gets busy instead reviving his razors (his ‘friends’) to help him complete his murderous mission.

Elsewhere, Anthony spies Johanna, who unbeknownst to him is Sweeney’s daughter, singing from her window. He wants to save her from the lustful grip of the Judge, whose acting as her ward. As Sweeney gets on with his plans, a local barber, Adolfo Pirelli, threatens to out him, and promptly becomes Sweeney’s fi rst victim who is promptly deposited down a mechanical chute to the ovens located below the pie shop.

The Judge, too, has his own close shave which is thwarted by Anthony informing Sweeney of his wedding plans to Johanna in front of the Judge who storms off . Seething with rage, Sweeney undergoes an epiphany, sensing a primal need to take out his frustrations on humankind, while Mrs. Lovett, itching for a business lift, spots an opportunity to enrich her pies (literally) with the growing body count.

As innocent and guilty alike are dispatched by Sweeney’s razor, including eventually the Judge, he discovers the true identity of the beggar woman, causing him, fi nally, to turn vengeance upon his own plans.

© Dr Zachary Dunbar

Synopsis

Sweeney Todd © Jeff Busby for Victorian Opera

Stephen Sondheim: Composer Lyricist

Sweeney Todd is unique, both as a music drama or opera, and also within the oeuvre of its brilliant creator, Stephen Sondheim. Of all his works, this piece embodies all the elements of traditional music theatre: Villains, lovers, murders, revenge, plus sus-pense and retribution. No wonder he subtitled it a “Musical Thriller”.

Sondheim, an only child, was born in New York in 1930. Ten years later his parents went through a bitter divorce and their young son, Stephen, found a surrogate father and mentor in the family’s neighbour Oscar Hammer-stein, a lyricist and librettist, with many successful Broadway musicals to his credit.

Hammerstein took his young protégé to the preview of his “serious musical” Carousel, whose dark themes, would resonate in Sondheim’s music dramas, particularly Sweeney Todd, many years later. He also impressed on him the need for intelligibility in communicating with an audience; in both dramatic and theatrical, as well as verbal elements.

In 1946 Sondheim entered Williams College, Massachusetts, still undecided on a major discipline: En-glish, Maths or Music?

He excelled in all three, and graduated magna cum laude in 1950, also receiving the Hutchinson Prize of $3,000 cash. Financially this enabled him to find a teacher to help him understand “how music works?”

Ironically he chose Milton Babbitt, a classically trained musician who was experimenting with electronic synthe-sizers, (a novelty in the ‘50s) and not interested in commercial success: A strange choice perhaps for someone intending to write for music theatre and setting his sights on Broadway. However, from Babbitt Sondheim received a sound grounding in orchestration, use of dissonance and complex counterpoint. All evident in Sondheim’s orchestral scoring of Sweeney Todd.

Speaking of his apprenticeship with his two mentors, Sondheim claimed in a Times interview, that Hammerstein was Theatre, and Babbitt was Music. “What I learned from Milton was grammar. His was a language. What I learned from Oscar was what to do with language.”

Sondheim’s first success, Saturday Night, in 1955, led to writing the brilliant lyrics for Leonard Bernstein’s West Side Story, followed by Jule Styne’s Gypsy.

However, Sondheim’s ambition was to become known as a composer and librettist, not just a lyricist. His first success in this genre, A Funny Thing Happened on the Way to the Forum, (dedicated to Oscar Hammerstein II) was followed by Company, Follies and A Little Night Music.

Later Sondheim moved into a more serious dramatic vein and on March 1, 1979 Sweeney Todd, The Demon Barber of Fleet Street was premiered at New York’s Uris Theatre. It broke new ground in music performance. Now the leads must be skilled and versatile actors and singers, as the work contains bloody murders, comic duets, as well as passionate love scenes.

The protagonist, Sweeney Todd was originally based on a fictional charac-ter who first appeared as the villain of the Victorian penny-dreadful serial The String of Pearls—A Romance (1846-7). A century later, Christopher Bond adapt-ed the series into a play, Sweeney Todd (Demon Barber of Fleet Street).

Sondheim saw Bond’s play in London in 1973 and was attracted to its melodra-matic horror. Consequently he decided to turn it into a Broadway “Musical Thriller in two acts”. The book (libretto) was written by Hugh Wheeler and Sondheim composed the music and lyrics.

Many critics believed that this was the closest Sondheim came to writing pure opera (as mentioned above), and his score certainly contains many thematic and operatic elements. For instance, the opening ensemble Prologue “The Ballad of Sweeney Todd” segues into “Swing your razor high, Sweeney.” This is set to the terrifying pitches of the Dies Irae (Day of Wrath) taken from the Catholic funeral mass. Later in the act when Mrs Lovatt returns his beloved razors to him, Sweeney sings a passionate love song to his razors—An inversion of the Dies Irae theme or motif.

Comedy also plays an important role in Sondheim’s “musical thriller”. Mrs Lovatt, the maker of questionable pies,

provides some light relief and clever lyrics in their cannibalistic duet “A Little Priest” when she and Todd reflect on the many flavours of humanity in her pies: A Priest is too good; Grocer is green, and a piccolo player is piping hot.

Romance is another important operatic element featuring the trials and tribula-tions of the love affair between the aptly named young sailor, Anthony Hope, and Sweeney’s long-lost daughter Johanna. Their simple love duets are melodically heart-rending. However, her guardian, the (wicked) Judge Turpin, also lusts after her.

Romance turns into pure unadulterated horror as Sweeney’s “Epiphany” aria unfolds and becomes the turning point in the drama. Now, instead of vowing vengeance on one guilty man, (Judge Turpin), Sweeney pledges to murder all humanity, shouting “They all deserve to die!” Sondheim’s protagonist now be-comes a mass murderer. Like Mozart’s Don Giovanni he dies unrepentant.Sweeney Todd opened on Broadway to mostly enthusiastic reviews, and in spite of varying opinions, from horrific to brilliant, was awarded eight out of nine Tony Awards: Best Musical, Best Score, Best Libretto, Best Set, Best Costumes, Best Actress in a Musical (Angela Lans-bury), and Best Actor in a Musical (Len Cariou).Since then Sondheim’s Sweeney Todd has been performed by theatrical com-panies worldwide, and takes its rightful place in the repertory of many of the great houses, including Chicago Lyric Opera, New York’s Metropolitan Opera and was first performed by Opera Australia at the Sydney Opera House on September 21, 2001. Now it’s coming to The Maj!

Annie Patrick Program Notes June 2019

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Sweeney Todd © Jeff Busby for Victorian Opera

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