Sweeney Todd as presented by Pop-up Theatre

Society Name: Pop Up Theatre

Show Name: Sweeney Todd

Adjudicator Date of Attendance: 25.04.2025

Brief Overview of Show and Evaluation of Front of House

Pop Up Theatre’s production of Sweeney Todd was an ambitious, inventive, and atmospheric retelling of Sondheim’s notoriously complex musical thriller. From the moment one entered the venue, it was clear that this would be an immersive theatrical experience. The creative team made strong, brave choices in their approach to both staging and audience engagement, and although not all of them landed perfectly, the overall tone was one of dedication and creative exploration. It’s no small task to tackle a piece as musically intricate and emotionally intense as Sweeney Todd, but the company leaned in with enthusiasm, a clear aesthetic, and genuine dramatic intention.

The Front of House team were courteous, efficient, and welcoming. Their warmth and professionalism helped set a relaxed and anticipatory atmosphere before the curtain rose. While the unusual staging meant some audience members had slightly compromised views, staff did their best to assist, and the general buzz and excitement added to the show's immersive quality.

Director – Direction and Production

Karen Gordon’s vision for this production was bold and inspired. Her decision to stage the piece in thrust formation, with actors weaving in and out of the audience, created a sense of claustrophobia and tension that was very fitting for the grim tale. This layout invited the audience into the grimy alleys and haunted parlours of Fleet Street, which was an effective atmospheric choice. Some of the spatial elements, however, posed challenges, particularly for audience members seated in areas with less direct sightlines. While immersive theatre is thrilling, it must balance innovation with accessibility.

The overall concept was cohesive and thoughtful. There were several moments of visual and dramatic brilliance, particularly the fluidity of movement between audience and performance space, and the imaginative staging of ensemble scenes. However, more care was needed in maintaining the internal logic of the world being built. For instance, some costume pairings blurred class boundaries in ways that felt unintentional and confusing. Character dynamics, such as high society women walking arm in arm with their maids, or prostitutes, compromised the class structure that is so integral to the plot’s tension.

Characterisation was another area that could have benefited from deeper exploration. Sweeney and Mrs. Lovett, while played with commitment, seemed emotionally static. These are characters with rich internal lives and a gradual descent (or ascent) into madness, and the lack of a visible arc diluted the show’s dramatic payoff. That said, other characters showed clear development and careful crafting, and there was evidence of a director who had a clear grasp of the show’s tone and themes. 

Musical Director – Direction and Orchestra

The musical direction under Niamh Crowley was one of the highlights of the production. The orchestral sound was full-bodied, lush, and perfectly suited to Sondheim’s haunting score. Particularly impressive was the handling of complex rhythmic patterns and tonal dissonances, elements which often trip up even the most seasoned performers. The musicians were tightly unified, and the transitions between tempos and dynamics were seamless.

It was remarkable to observe such flawless cuing, especially considering the positioning of the MD, who was placed side-stage, largely hidden from both cast and chorus. Despite this, entrances were crisp, exits were clean, and the ensemble never lost tempo or cohesion. This speaks to the clarity of rehearsal, the strength of direction, and the trust between musical leader and cast.

There were occasional issues with tuning and diction among some principals. In a show as lyrically intricate as Sweeney Todd, the intelligibility of lyrics is crucial to both narrative clarity and audience engagement. These minor setbacks, however, did not detract significantly from the overall musical quality, which remained a major strength throughout.

Choreographer – Choreography

Ciara Frahill brought fresh, intelligent movement to the production, particularly evident in the opening number, which was a dynamic and visually striking piece of storytelling. The choreography was modern and expressive without feeling anachronistic. It supported rather than distracted from the mood, and it cleverly echoed the unease and urgency of the score.

Ciara’s use of spatial awareness and movement across the thrust stage was particularly effective. The ensemble work flowed beautifully, with natural transitions and well-defined formations that enhanced the chaotic yet controlled energy of the narrative. The choreography felt organic to the world, never inserted for spectacle alone, and that grounding added a great deal of authenticity.

There is always room for tightening in such large-scale movement pieces, but the commitment of the cast ensured that any small moments of looseness were quickly covered with energy and intent.

Leading Principals – Singing and Acting

Sweeney Todd – Dave Flynn: Dave’s Sweeney had presence and vocal depth, but greater attention to diction and character development was needed to bring the role fully to life. The menace required for the role never quite landed, and a broader emotional range, particularly the descent into madness, was not fully explored. As a result, Sweeney’s journey felt more linear than layered.

Mrs. Lovett – Hazel Doolan: Hazel approached the role with confidence, but more vocal support and emotional shading were needed. Mrs. Lovett’s complexity, her wit, desperation, and eventual unraveling, requires more variety in both vocal and physical choices. The performance stayed on one emotional level for much of the show, which limited its impact.

Judge Turpin – Hugh O’Neill: Hugh’s portrayal was unsettling and physically imposing, in line with the character’s sinister nature. A little more focus on vocal clarity and accent consistency would elevate the performance even further.

Anthony Hope – Jack Courtenay: Jack’s Anthony was sincere and likable, though his portrayal occasionally lacked assertiveness. This character often serves as the moral compass of the piece, and more vocal strength and emotional conviction would help anchor that role more effectively.

Beggar Woman – Aoife Kelly: An absolute standout, Aoife delivered a nuanced, layered, and physically committed performance. Her characterisation was rich with detail, each twitch, mutter, and flicker of recognition added depth. Her facial expressions and vocal inflections made the mystery and tragedy of the Beggar Woman vividly clear.

Beadle Bamford – Kieran Cunnane: Kieran leaned fearlessly into the grotesque. His performance was both chilling and darkly humorous, with excellent use of body language and a consistent, disturbing accent. One of the most memorable portrayals in the production.

Supporting Roles – Singing and Acting

Johanna – Katelyn Rafter: Katelyn presented a poised and engaging Johanna. Her stage presence was graceful, and she handled the role’s demands with ease. Some additional layering in her emotional beats would enhance the character’s inner conflict.

Tobias Ragg – Niall Kerr: Niall’s Tobias was charming, naïve, and loveable. His performance was heartfelt and honest, and his vocal tone suited the role well. A sensitive and endearing portrayal.

Adolfo Pirelli – Conor White: Conor was a joy to watch. His flamboyant physicality and vocal energy made Pirelli a delightfully theatrical character. The switch in accents was flawlessly executed and added comic sharpness to the role.

Mr. Fogg – Maurice Kehoe: Maurice gave a strong and appropriately unhinged performance. His scene was brief but impactful, showing clear character commitment and vocal authority.

Chorus/Ensemble – Singing, Acting and Choreography

The ensemble in this production was a clear asset. Their commitment to the world of the piece was unwavering, and each performer brought individual characterisation, ensuring that the crowd scenes felt alive and textured. Their vocal sound was balanced, strong, and well-rehearsed, an impressive feat considering the complexity of the choral arrangements.

Their movement across the stage was polished and thoughtful, creating dynamic pictures while supporting the leads. This was an ensemble that understood its role as both storyteller and atmospheric backdrop, and the synergy among them elevated the entire production.

Stage Management & Set Design

The set design was functional and effective, utilising the venue’s thrust configuration to create a fluid, immersive environment. The use of house facades on either end of the hall was a clever touch, enhancing the sense of place for audience members seated at the sides.

Minimal stage management was needed, as furniture shifts were integrated smoothly into the action by the cast. This approach supported the piece’s momentum and tone without pulling focus. Overall, it was a smart and efficient use of resources that served the production well.

Technical – Lighting and Sound

Lighting was a triumph in this production. Moody, atmospheric, and beautifully tailored to each scene, it underscored the narrative with precision. Shadows were used to great effect, heightening tension and mystery, and the cueing was sharp and reliable. Spot work was impressively accurate, which is not easy in a thrust setting.

Sound design, while mostly excellent, faced a few physical limitations due to the venue’s layout. The mix itself was well-balanced, and voices were generally clear and distinct. However, depending on where one sat, some speakers were angled away from the audience, which occasionally affected the directionality of the sound. Nonetheless, the quality of the overall mix and the interplay between vocals, orchestra, and choir was strong.

Visual – Costumes, Hair and Make-Up

Costumes were largely appropriate and well-executed. In immersive theatre, detail becomes paramount, and small things, such as visible safety pins or improperly fastened gowns, can distract from the costume plot. Closer detail to costume decisions, when casts have made character choices, is needed. This will help avoid clashes in social strata.

Hair and make-up were particularly strong. Hairstyles were consistent with the era and enhanced each character’s presence. The make-up was atmospheric and appropriate. The Beggar Woman could have pushed further into transformative territory to heighten the dramatic irony of Sweeney not recognising his beloved wife. 

Adjudicator’s Suggestions / Overall Comments

Pop Up Theatre should be proud of what they achieved with this production. Tackling Sweeney Todd is no small feat, and the overall concept, commitment of the cast, and strong creative vision made for an enjoyable and often haunting evening of theatre.

Moving forward, refining diction and vocal technique among the leads will greatly enhance narrative clarity. Ensuring the design elements, particularly costume and staging, work together to support the story’s internal logic will help preserve immersion. And continuing to explore the emotional arcs of major characters will add depth and impact to key moments.

This was an imaginative and courageous production, filled with promise and passion. With continued focus on detail and cohesion, this company is capable of producing truly unforgettable work.

Photos by Sam Elliott Photography