Review: SWEENEY TODD Signals Renaissance for Playhouse On The Square

Broadway + NYC

Broadway

Off-Broadway

Off-Off Broadway

Cabaret

Dance

Opera

Classical Music

Eastern

Central

Western

West End

WEST END

UK Regional

International

Canada

Australia / New Zealand

Europe

Asia

Latin America

Africa / Middle East

Entertainment

TV/Movies

Music

Ctrl + K to open · Esc to close

Now Through July 12th

POPULAR

Get all the top news & discounts for Memphis & beyond.

The 2025–2026 season at Playhouse on the Square could be summed up in one word: Renaissance. The overall quality of the productions, the size of the audiences, and the standard of excellence have all finally returned after suffering noticeably from the far‑reaching effects of the Covid pandemic. This year’s productions of COME FROM AWAY, ALANIS MORISETTE’S JAGGED LITTLE PILL: THE MUSICAL, JESUS CHRIST SUPERSTAR, and PRIMARY TRUST have each delivered the level of artistry audiences expect—yet had recently missed—from a well‑established professional theatre.

Capping off this electrifying season is a highly ambitious collaboration with Opera Memphis: SWEENEY TODD: THE DEMON BARBER OF FLEET STREET.

Although Stephen Sondheim himself resisted calling the show an “opera,” this gothic tale of a vengeful barber—whose freshly dispatched customers become the secret ingredient in Mrs. Lovett’s suddenly popular meat pies—embodies the very essence of high drama told almost entirely through music. In that sense, partnering with Opera Memphis feels not only logical but inspired. The production draws on some of Memphis’ most operatic voices to tell this dark, sweeping story, and every one of them rises fully to the moment.

Under the direction and choreography of Whitney Branan, this elaborate production hits all the right notes—literally and figuratively—satisfying its already ravenous fan base. Yet it still misses the opportunity to accentuate and crystallize the heightened, fantastical arc of the story. Branan has cast the show almost perfectly, with strong leads and a fully committed ensemble supported by impressive technical elements. However, the acting choices feel underdeveloped, leaving us to watch the story rather than be pulled into it. With a three‑hour running time, this “non‑operatic” production leans heavily into the singing while leaving the deeper character work behind.

As Sweeney Todd, Matthew Burns brings a gorgeous, booming baritone, and from his first note it is clear he can manage the vocal demands. As a man who has unjustly lost his wife and daughter, his thirst for revenge is understandable. But there is a pivotal moment when Sweeney shifts from wanting to kill just the judge who ruined his life to indiscriminately murdering townspeople. That psychological break requires a clear character arc, and Burns’ portrayal never fully lands that transition. Likewise, for a character nicknamed “The Demon Barber,” the choice to style him like an office accountant rather than a menacing figure undermines the role. Nearly every other man in the show sports wild hair and even wilder makeup—except the monster at the center. Perhaps the intention was to keep him looking “average,” but in a heightened melodramatic opera, extremes are what the story demands.

Andy Boggs and Dawn Bradley play the would‑be young lovers Anthony Hope and Johanna, who must outwit the evil Judge Turpin (played by the always imposing and believable Bill Andrews) if they hope to be together. Both Boggs and Bradley sing beautifully, but struggle to break through as fully realized characters, remaining instead in the familiar territory of swashbuckler and damsel in distress.

As Tobias Ragg, the assistant to Mrs. Lovett, Bryce Goodson gives an earnest performance with a melodic voice, caught between youthful exuberance and the darkness surrounding him. Dramaturgically, Costume Designer Em Rossi does not help matters by dressing him—despite the 1840s setting—in an 1880s Little Lord Fauntleroy outfit (dark velvet cutaway jacket, matching knee‑length pants, and a broad lace collar). Surrounded by murder and butchery while dressed like that? One wonders how velvet holds up against blood and guts.

Easily stealing (and carrying) the show is Amy P. Nabors as Mrs. Lovett, the meat‑pie maker. Content to accept her lot in life as a woman selling questionable food, Nabors makes Lovett funny, endearing, and irresistibly watchable. Whether or not she is as classically trained as the opera singers around her, she more than holds her own and brings the acting chops to match the vocals. Her recent performances on Memphis stages have earned her the kind of respect that prompts rousing ovations the moment she appears. This is how it’s supposed to be done.

Kudos to the top‑notch ensemble of singers and dancers who deliver 110% of this difficult score with Branan’s distinctive—and in this case, effective—choreography. Their commitment bodes well for future POTS productions.

Technically, the show provides just the right amount of sinister lighting, haze, and danger. Creating a prop barber’s chair that convincingly sends victims sliding into an unseen dungeon is no small feat, but it works exactly as it should. To heighten the gothic horror, however, the production would benefit from using a deeper crimson blood gushing out of throats rather than the light pink, watery version currently employed. Special mention goes to Joshua Crawford’s sound design, which offers perfect amplification for Stephen Karr’s exquisite orchestra.

Seeing sold‑out shows at Playhouse on the Square feels like a return to form. Whether it’s the crossover audience from Opera Memphis or the draw of one of Sondheim’s most recognizable titles, full houses deserve stellar productions—and this one delivers. This is not an easy show to mount. The music is intricate, the story is dark, and the talent required is demanding. But for fans of Sondheim, you’ll be impressed. Most popular musicals today are light, airy, and whimsical. It’s refreshing to see a musical—and a production—with a little meat on its bones.

Get an Alert Each Time Kevin Shaw Writes

Videos

POPULAR

Sign up for announcements, and exclusive discounts on tickets to your favorite shows!

© 2026 - Copyright Wisdom Digital Media , all rights reserved. Privacy Policy

_Originally reported by [BroadwayWorld](https://www.broadwayworld.com/memphis/article/Review-SWEENEY-TODD-THE-DEMON-BARBER-OF-FLEET-STREET-at-Playhouse-On-The-Square-20260615)._