Another West Wickham Triumph

Sweeney Todd – The Demon Barber of Fleet Street, WWOS Musical Theatre, Churchill Theatre, Bromley (Opening Night, 11 November)

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On a wet and miserable November night, it felt fitting to step into the Churchill Theatre for a story as dark and twisted as Sweeney Todd. The evening also carried local resonance, coming a few months after the news that Bromley Council and Trafalgar Entertainment had reached an agreement to secure the theatre's future, a reminder of how vital this venue remains to the borough's cultural life.

From the opening chords of "The Ballad of Sweeney Todd," the strength of WWOS's company vocals was immediately striking. Amateur musical theatre ensembles are often accused of being a little restrained, but that certainly wasn't the case here. The ensemble filled the theatre with sound, setting the tone for a night that was polished, powerful and utterly professional.

Directors Kevin Gauntlett and Danielle Grant once again demonstrated why they are such a formidable partnership. Gauntlett's decades of experience shone through in the show's overall precision. At the same time, Grant's growing directorial confidence is also evident, a worthy successor should Kevin ever take a break from the helm. Together they delivered a production that balanced menace with mordant humour, never letting the pace flag for a moment.

Technically, the show was on par with WWOS's consistently high standards. The lighting and sound design were smooth and professional, enhancing the shadowy tension of Fleet Street without ever overwhelming the performers. One of the most impressive pieces of stagecraft was the infamous barber’s chair. Each “dispatch” never got old, with victims vanishing from view in a way that drew audible gasps and even laughter from the audience. The mechanism worked flawlessly throughout the evening (to my knowledge), adding a thrilling touch of theatrical magic to the production.

Jamie Fillery, as Sweeney Todd, was simply outstanding. He commanded the stage with menace and gravitas, capturing both the tragedy and fury of the role. Opposite him, Jane Werry was fabulous as Mrs Lovett—deliciously wicked and wickedly funny. Angela Lansbury, Imelda Staunton and Helena Bonham Carter, eat your heart out. Together, Fillery and Werry were magnetic, their chemistry the murderous heartbeat of the production.

Elsewhere, Sam Webber's Tobias brought a lovely innocence to "Nothing's Gonna Harm You," one of the show's most tender numbers, a reminder that even amid the show's blood-soaked chaos, Sondheim leaves space for tenderness.

The supporting cast was equally strong, each bringing depth and fun to their roles. Chris Chedzey was suitably sinister as Judge Turpin, matched by Andy Moore's wonderfully pompous Beadle Bamford. Scott Slaytor brought an earnest charm to Anthony, his scenes with Kate Gauntlett's delicate Johanna providing welcome light amid the darkness. In contrast, Kevin Gauntlett provided flamboyant comic flair as the scheming Pirelli, a role he has performed before. Jacqui Morris brought a haunting edge to the Beggar Woman, her presence a mix of uncomfortable humour and tragedy, and her vocals akin to a living ghost, capturing the character perfectly. Together, they rounded out an accomplished principal line-up, elevating the production from impressive to exceptional.

If there was one moment that could have benefited from a little more drive, it was Johanna's rescue from the asylum, which might have landed more powerfully with a touch of extra energy and urgency.

Under Anne Greenidge's musical direction, the orchestra gave Sondheim's notoriously complex score the clarity, precision and emotional power it deserves. Every tempo shift and harmony landed pretty well, reflecting both skill and deep respect needed for the material.

The set and costumes were suitably grim and gothic, evoking Victorian London with convincing detail. It all looked and felt right—dark and atmospheric.

In short, this was another West Wickham triumph. WWOS has long set a standard for quality that goes far beyond its big budget, and Sweeney Todd continues that proud tradition. Having performed with the company in Oliver! last year, I was reminded why WWOS productions leave such a lasting impression and why they have a way of giving performers and audiences alike the itch to return.