By Tim Smith
For its fortieth anniversary, Virginia Opera slid into Broadway repertoire to deliver a highly satisfying account of Stephen Sondheim’s ever-chilling Sweeney Todd, one of the organizations strongest ventures of the past decade or so. Several companies have been drawn to the richly operatic properties in this score, which can benefit considerably from classically trained voices. Inspired acting is just as essential, of course. The cast for this encounter with the Demon Barber of Fleet Street measured up firmly on both counts Oct. 12 at the George Mason University Center for the Arts. The Riccardo Hernandez-designed production, which originated at Opera Theatre of Saint Louis, sometimes suggested a gussied-up concert version, with a lot of the action played out on a bare stage. But atmosphere was plentiful just the same, thanks to consistent electricity from the singers and a few props wheeled on and off, among them a table piled with assorted limbs ready for slicing and dicing.
The staging gained more theatricality from finely graded lighting (Maruti Evans), spot-on costuming (Emily Rebholz), and sufficient quantities of squirting red stuff. Director Ron Daniels kept things flowing swiftly, tellingly. The singers were amplified, but not aggressively, allowing for an intimate experience.
In the title role, Stephen Powell’s commanding work started with his intensely focused look, which suggested a single glance could have turned Sweeneys enemies into stone, had there not been a more elaborate plan in mind. The baritones dark, solid voice and wonderfully animated phrase-sculpting were matched to an affecting portrayal of the tormented soul. Phyllis Pancella owned the role of the wicked baker Mrs. Lovett, lock, stock and marrow. The mezzos natural acting and juicy Cockney accent were reward enough; her vocalism, fueled by a flexible, full-bodied tone and prismatic phrasing, put the crust on the pie. Pancella had a field day in “By the Sea,” enjoying equally colorful partnering from Powell; and shaped “Not While I’m Around” with a gentle touch, joined by David Blalock, who did sensitive work as the hapless Tobias.
Jake Gardner fleshed out the role of Judge Turpin fully, capturing the man’s hauteur, slime and creepy yearning to potent effect. The bass-baritones voice, even with a patch or two of dryness, had terrific vitality, while his masterful articulation of text, especially in “Pretty Women,” made every syllable shine. His was a first-class achievement all around. Andre Chiang used his bright tenor deftly as Anthony and Amanda Opuszynski chirped sweetly as Johanna. Tenor Javier Abreu milked the comic role of Pirelli amusingly and, some pinching in the upper register aside, sang with great flair. Scott Ramsay delivered dynamic work, vocally and dramatically, as Beadle, Diana Dimarzio over-applied a wicked-witch voice as the Beggar woman, but otherwise proved effective. The chorus sustained a hearty, well-balanced tone. Adam Turner conducted a stylish account of the score, drawing impressively nuanced playing from the Virginia Symphony every step of the way.