Stephen Sondheim

Stage Direction | Lighting Design Sebastian Ritschel
Musical Director Ulrich Kern
Set Design | Costume Design Markus Meyer
Dramaturgy Ronny Scholz
Choir Manuel Pujol
Premiere 07. June 2014 | GHT Görlitz


Sweeney Todd Gary Martin
Mrs. Lovett Yvonne Reich
Anthony Hope Sven Prüwer
Johanna Barker Kora Lang
Tobias Ragg Michael Ernst
Judge Turpin Stefan Bley
Beadle Bamford Hans-Peter Struppe
Beggar Woman Audrey Larose Zicat
Adolfo Pirelli Benjamin von Reiche
Mr. Fogg Benjamin von Reiche



Jens Daniel Schubert - Sächsische Zeitung

SWEENEY TODD […] a jubilated premiere of the musical.

Sebastian Ritschel has a consistent and clear story telling. Although Todd's criminal intended and insane revenge and the bestial cannibalism of his ally are shown openly, their actions are fascinating  apart from all moral judgement. Stage designer Markus Meyer built a interlaced set, that vividly shows  the different layers of the play and their meaning. The iron bars of the jail and the mug shot of the murderer are forming a constantly present frame. Within there, the characters are alive. Todd, the man with the razor blade and Lovett, the pastry baker are all human and somehow comprehensible. […] This is pure horror, that in his absurd consequence provokes liberating laughter.

The production in Görlitz narrates this clear and consistent, with stylistic security and in big pictures with a continuous effect. But it exists especially because of its brilliant singers, who convincingly play their parts. There is Gary Martin singing the title part. No maniac, no mysterious psychopath, but a friendly loving father. One that does, what needs to be done. Alike Yvonne Reich as Mrs. Lovett. A grasping, down-to-earth woman with dreams of a happiness on the side of the strong Sweeney. And there are happy hours, when she can be a motherly mentor to the naïve, almost simple-minded Tobias Ragg. Really exuberantly and enthusiastically played by Michael Ernst.

Kora Lang and Sven Prüwer are playing the young couple Johanna and Anthony almost statically, inaccessibly beautiful and out of reach perfect. Their dramaturgical importance in the blistering play as a motor, a catalyser and a delaying factor, is held little on purpose in this production. Splendidly on the other hand the ever reoccurring appearances of the beggar woman, whose dramaturgical meaning stays hidden until the end and is despite all obstacles convincingly played and sung by Audrey Larose Zicat.

The dramatic and profound music was in safe hands at the “Neue Lausitzer Philharmonie” and Ulrich Kern. He gave a musical stimulus, carried the actions on stage, the singers (the choir, the little parts, the main characters) safely through the evening, which elated the many guests of the premiere. May they pass it on. Sweeney Todd awaits new customers.