A meaty night out at the opera, in more ways than one.

Deliciously scary, Sweeney Todd has entered the repertoire of all the great opera houses of the world. The stuff of urban legend, Sweeney Todd is without doubt one of the most powerful, dramatic and theatrical horror tales ever set to music. It is all the more compelling in that, for all its dark humour, Sweeney Todd tells a very human tale: revenge, obsession and lust, yes, but also pain, yearning, even love.

Bringing this musical thriller to life, we are delighted to welcome back to our shores one of New Zealand’s most beloved operatic sons, Teddy Tahu Rhodes. The haunted intensity of Teddy’s Sweeney meets its match in Antoinette Halloran’s seductively manipulative and very funny murderess, Mrs Lovett.

A co-production with Victorian Opera, Sweeney Todd is directed by New Zealand Opera’s general director, Stuart Maunder, and conducted by Christchurch Symphony Orchestra’s Benjamin Northey.

Reviewers have described the production as magnificent, revelatory and a superb union of technical, musical and artistic balance.

Cast

• Sweeney Todd: Teddy Tahu Rhodes
• Mrs Lovett: Antoinette Halloran
• Anthony Hope: James Benjamin Rodgers
• Johanna: Amelia Berry
• Judge Turpin: Phillip Rhodes
• Beadle Bamford: Andrew Glover
• Beggar Woman: Helen Medlyn

Accompanied by the Auckland Philharmonia Orchestra.
Featuring the Freemasons New Zealand Opera Chorus. Sung in English.

Creative Team

• Conductor: Benjamin Northey
• Director: Stuart Maunder
• Production Designer: Roger Kirk
• Lighting Designer: Phil Lethlean
• Book by Hugh Wheeler
• Music and Lyrics by Stephen Sondheim

From an adaptation by Christopher Bond. Originally directed by Harold Prince. Originally produced on Broadway by Richard Barr, Charles Woodward, Robert Fryer, Mary Lea Johnson, and Martin Richards. In association with Dean and Judy Manos. By arrangement with Hal Leonard Australia Pty Ltd, exclusive agent for Music Theatre International (NY). A New Zealand Opera co-production with Victorian Opera.

Review: Broadway opera Sweeney Todd at its macabre best