The University of Cincinnati’s College-Conservatory of Music is presenting a large-scale production of “Sweeney Todd: The Demon Barber of Fleet Street,” with performances running through April 19. The show, which debuted on Broadway in 1979, is known for its complex staging and challenging technical requirements.
Producing a full version of “Sweeney Todd” is notable because many theaters opt for smaller adaptations due to the show’s size and complexity. The university’s approach involves a double cast from both musical theatre and opera/voice programs, performing in Corbett Auditorium on a three-story set.
“This is a real bucket-list show,” said Mark Halpin, scenic designer and professor. “It’s one of the classic Sondheim musicals that will be around 100 years from now.” Halpin also explained the rarity outside major cities like New York or London to see the musical staged as originally intended: “It’s pretty rare outside of a New York or London revival to actually see the show done the way it was meant to be done with a large cast and a full orchestra in a big space like Corbett, and with the mix of musical theatre and opera voices you want for it. It’s a really, really unique opportunity to come see this how it was meant to be seen.”
Technical director Paloma Robles led student teams in designing key effects such as Sweeney Todd’s barber chair with its built-in trap door. “Sometimes it’s a struggle because we’re all students and we’re all learning,” Robles said. “But we worked really well with each other the whole way. I’m proud of that.”
Ben Wright, an undergraduate studying scenic design and properties, developed fake blood recipes suitable for stage use without staining costumes or props. Wright said extensive testing was needed: “I don’t think people realize that when you want blood on stage, that means at least ten hours of meetings and even more time testing.”
Costume design also required careful planning for quick changes during dramatic scenes involving Mrs. Lovett’s character, handled by second-year student Norah Jeziorowski under supervision from CJ Kelly, visiting assistant professor.
Missy J. White designed wigs and makeup while collaborating across departments—a process she described as uniquely collaborative at UC: “CCM has never done anything like this, even when I was a student here,” White said.
The production brings together students from various disciplines who may not have otherwise worked together but have united behind what participants describe as Broadway-level standards.
