‘Attend the tale of Sweeney Todd’ boomed around the auditorium as the talented cast of Curtain Call Creative’s latest production of ‘Sweeney Todd: The Demon Barber of Fleet Street’ took to the stage in what would be just over 2 hours of 5-star entertainment.

You’d have been forgiven for not realising that not one member of the cast was an adult, given the overwhelming level of talent on display and the way the harrowing and gruesome storyline was dealt with. I’m not exaggerating – the standing ovation from a packed-out Medina Theatre speaks for itself.

The ensemble opened and closed the show with vocals that were electrifying, showcasing the power of the group as a whole. These kids are a tour-de-force, with oodles of professionalism. The choreography was slick: all movement executed with purpose. The set included a raised platform and split levels, as well as clever use of under-stairs for both entrances and exists. Like the streets of London, the stage was bustling with the cast in the ensemble numbers, making use of every available space.

Sound often gets a bad rep in amateur theatre productions, but I genuinely could not fault the sound production here; a perfect blend of orchestra (who were utterly fabulous) and cast with not one missed cue! This really added to the high production values seen throughout.

Finley Revert took on the titular role, and was masterful not only with his blade but with his portrayal of the man driven to madness by circumstance and keen to exact his revenge on those who stole his life and family from him. Finley gave a believable vulnerability to the role, and his magnificent voice gave shade and depth to Stephen Sondheim’s complex score. This guy is going to go far, mark my words!

Complimenting him was the dazzling Lottie Paine playing Mrs Lovett. Her interpretation of the role was brilliant, finding comedy in the delivery of the lines or in her facial expressions. Her songs were delivered with the ease of someone much her senior, and it was a joy to watch her transition from class clown to mother figure, to lover.

Judge Turpin, the snarling and seedy villain of the story was played splendidly by Rafe Hodge-Thomas. He didn’t once drop the grimace on his face, and he delivered the part with the perfect balance of menace and sleaze which made his interactions with Johanna all the more difficult to watch.

Jake Eastman delivered the part of Tobias Ragg with a sincerity and innocence that made the character all the more loveable, and harder to watch the story unfold. Jake especially came into their own during ‘Not While I’m Around’ (with Mrs Lovett), which offered the audience a beautiful and heartbreaking moment between the pair.

Tom Thorne, as Anthony Hope, and Emma Clark as Johanna complimented each other well as the star-crossed lovers. Tom’s rendition of Johanna gave goosebumps as his voice soared. Likewise, Emma shone on stage and her soprano voice was a joy to listen to, giving the audience some reprise from the dark and jarring melodies of other songs in the show.

Miles Harvey gave the audience laughs as Adolfo Pirelli, with his great characterisation of the ‘fake’ Italian barber. Alfie Luke showed his prowess and stage experience in the role of The Beadle, able to draw laughs with his rendition of parlour songs whilst remaining authoritative throughout. The Beggar Woman was played expertly by Amelie Rogers, flicking between madness and clarity whilst delivering a final scene that was poignant for all the right reasons.

The ensemble took on many of the smaller parts throughout the show, showcasing their versatility and talents. One particular moment that stood out was the trio of Rafferty Moore, George Sales and Henry Walker singing in close 3-part harmony one of the more challenging parts of the score of this show. I should add, no part of a Stephen Sondheim score is ‘easy’ and this show is certainly no exception due to its dissonant and jarring harmonies used to ramp up the terror and tension throughout the story.

Director Tony Wright, assistant director Emily Scotcher and musical director Andrew Woodford must be feeling particularly proud after watching their students give a masterclass in performance to the lucky audience who got to witness this fantastic piece of live theatre. Every member of the production team, cast, creatives and orchestra really should be congratulating themselves on a job well done. It takes an army to pull off a show of this quality and production values, and it was worth it I assure you!

Bravo, CCC. What will you do next?!