Chronicle Spring 2022

24 ST EDWARD’S CHRONICLE

this complicated show to life, particularly in the last and busiest final rehearsals. The show owes much to the operatic world and presenting Sweeney – with its intricate scene changes and dramatic effects, props, blood, lighting, and movements – is a complex piece of theatre that needs careful planning from an early stage. The production team, headed by the inspiring Director Katrina Eden and the ever-tuneful Musical Director Alex Tester, really managed to conjure up the dark images of smoky Victorian London in the familiar surroundings of The North Wall. The entire theatre was re-arranged to give the audience an immersive experience of the City and, at the same time, a view of the main settings for each scene. A huge “well done” therefore goes to everyone involved, including the ever-resourceful Choreographer Lisa Elkins, Stage Manager Emily Stedman, Set and Costume Designer Mayou Trikerioti, Lighting Designer Clive Stevenson and everyone else involved in this triumph. We extend our thanks to the staff of The North Wall – we are so fortunate to have on-site theatre professionals who can lead and support a huge team of pupil stage managers, crew, designers and operators. Last, but not least thanks to our brilliant Catering Department for producing the most delicious meat pies in the interval! We are so grateful to the whole company, production team and the school community, for their undying support of the Arts at Teddies. What a truly spectacular occasion of which to be proud! Sweeney Todd – The Demon Barber of Fleet Street showed at The North Wall from Wednesday 24th – Saturday 27th November 2021

Charlie Scales as barber Benjamin Barker preparing to dispatch an unlucky client played by Oleg Voshchinskiy

Matthew Lewis played Sweeney’s long- time friend Anthony, who in the course of the story falls in love with Sweeney’s daughter Johanna ( Sofia Arzhanova ). Both characters showed great flexibility in their vocal ranges, as well as huge skill in blending their voices together in some of the tightest and most demanding duets (‘Kiss me!’) and haunting solo songs (‘Johanna’ and ‘Green Finch and Linnet Bird’). Johanna is being held captive by the evil Judge Turpin ( Will Cruddas ) and the cruel Beadle Bamford ( Ben Topping ). Both actors excelled at portraying the characters’ thinking, providing real psychological insight as well as musical panache and humour. Patrick Maxwell was the impressive fake-Italian barber Adolfo Pirelli, assisted by the acrobatic young Tobias ( Paddy Smith ). Rarely have we witnessed such a winning combination of vocal skill and subtle acting talent. Their confidence in delivering their characters was paramount, as was their full commitment to the story. The Chorus (Charlotte Baker, Niamh Brown, Josie Denvir, Jen Ellis, Lucas Farley, Saskia Frayling, Anya Firth, Olly Gurney, Sade McNichols-Thomas, Reuben Oladele, Prisca Olagunju, Elise Rance, Omolara Sowande, Oleg Voshchinskiy) was also stunning. Acting as a chorus in a Greek tragedy, every member of this ensemble deserved praise for communicating the unfolding of the story with such conviction, opening and closing the show (‘The Ballad of Sweeney Todd’) in a fulgurating crescendo.

The compelling singing by the cast was accompanied by a small but very accomplished Band formed by Annabel Sargent (keyboards), Marc Gillingwater and Glyn Williams (reeds), Richard Powell (trumpet), William Allen and Julian Faultless (horns), Kamran Akhavan and Mariette Pringle (violins), Aalim Beere and Anna Gunstone (cellos), Chris Xuereb (bass) and Wallace Ruby (percussion). It is true to say that the band, under the expert direction of Mr Tester, really kept the show together. As opposed to other musicals, Sweeney does not allow for many Band ‘breaks’, reserving some of the most technically demanding numbers for the end of the show. Well done to the Band for bringing