Over the years, East West Players’ yearly musical has become an event to look
forward to annually. Their 2003 Little Shop of Horrors remains my favorite LSOH
so far, with Samuel Chen my “best ever” Seymore. In 2001, EWP took on Kander
and Ebb, delightfully, in And the World Goes Round. 2005 saw them
undertaking an ambitious new musical, Imelda.

But East West Players’ all-time favorite auteur is undoubtedly Stephen
Sondheim. My first intimate theater Into the Woods was theirs, in 1992 (also my
introduction to EWP). I’ve seen and enjoyed their Follies (2000), Funny/Forum
(2001) and Passion (2003). Clearly EWP is not afraid of Mr. Sondheim, and their
actors clearly relish the opportunity offered them to tackle Sondheim melodies
and lyrics, and the acting challenges Sondheim roles entail.

Way back in 1994, it was East West Player’s first production of Sweeney Todd,
back in their old waver space, that first introduced me to this bit of Sondheim
Grand Guignol, and now, 12 years later, they’ve once again undertaken, in
their gorgeous Little Tokyo space, the tale of The Demon Barber of Fleet Street,
arguably theater’s most famous "musical thriller."

And a brand new production it is, with a completely fresh cast and design
team, all working at the top of their craft.

Ronald M. Banks (of the Taper’s Flower Drum Song revival) is a rich voiced and
imposing Sweeney, out to avenge past wrongs, who goes on a barbershop
based killing spree, aided by the cute and wacky Marilyn Tokuda as Mrs.
Lovett, a baker with a special way with a pie. Tokuda’s take on Lovett, so
different from Angela Lansbury’s well known Broadway and TV creation) is the
highlight of this production.

Timothy Ford Murphy and Jennifer Jung are in fine voice as sailor Anthony
Hope and Judge Turpin’s ward, who inspires the tenor standard Johanna. Ray
A. Rochelle is the evil judge Turpin, Lito Villareal the Beadle, and Samuel Chen
(my favorite Seymore) is the sweet and doomed Tobias. Chen’s Not While I’m
Around duet with Tokuda brings tears. Kathy Villanueva isn’t afraid to delve
into the Beggar Woman vulgarity, and Antoine Reynaldo Diel gets laughs as
Adolfo Pirelli, who begins Sweeney’s killing spree.

Besides the aforementioned Johanna, there’s the famous opening number The
Ballad of Sweeney Todd ("Beware the tale…"), the amusing The Worst Pies in
London, the wistful Pretty Women, and the dramatic City on Fire. And of
course, the memorable Act 1 Finale, A Little Priest, which is an especially fine
showcase for Sondheim’s talents a lyricist. "If you're British and loyal,
You might enjoy Royal Marine! Anyway, it's clean.
Though of course, it tastes of wherever it's been."

John Binkley has created a dark and imposing set abetted by Rand Ryan’s
excellent lighting design. Ivy Chou’s costumes are period perfect and Miles
Ono’s sound design adds to the scare factor.

Though I missed the full Broadway sound of the Original Cast Recording
orchestra, Lisa Joe leads a fine seven piece orchestra.

Director Tim Dang and choreographer Marc Oka have done a fine job
"putting it together," as Sondheim would say, and this latest East West Players
musical revival is sure to please its subscribers and the many Sondheim
aficionados who are certain to attend in droves.
FEBRUARY 2006, EAST WEST PLAYERS, LITTLE TOKYO, LOS ANGELES.

--Steven Stanley