A stark stage confronts the audience as they take their seats; a storefront and tombstones offer clues to the evening’s entertainment. As the stage lights come up, we are introduced to the protagonist and namesake of the production, Sweeney Todd the barber of Fleet Street. As portrayed in this production, Sweeney Todd, played by Scott Fremin, English senior from Schriever, is a misanthropic and maniacal man, hell bent on “polishing off” those who get in his way or annoy him.

He meets his match in Mrs. Lovett (Elizabeth Holcomb, marketing junior from Morgan City) the local pie shop owner who not only provides a romantic foil but also gives him a means for disposing of his handy work. As the play progresses, we learn of a plot hatched by the pair to kill Todd’s annoying patrons and then turn them into pies to be sold at Lovett’s shop.

Adapted by Brian Burton from George Dibdin-Pitt’s play, the production is a melodrama in true Victorian style not that far removed from traditional Comedia del Arte. In this genre, characters are greatly exaggerated and the emphasis, as stated in this production’s playbill, is on suspense and excitement. Unfortunately, neither of these aspects was present in the production that this reviewer witnessed.

Slow and plodding, the pacing seemed to drag through the first act, with only one high note at the end of the second act when a hilarious but all too brief chase around a table brought the audience back to life. If only the third act would have capitalized on the momentum. This was not the case as the final two acts dragged to their conclusion.

From a technical standpoint, the execution was excellent, with exceptional work turned in by Bernadette Dugas and the costume department. The set was minimal yet effective, with areas of the stage doing double, and in some cases triple duty with minor prop changes that effortlessly transformed each location.

The actors should be commended for their work. Though at times over the top, Fremin’s enthusiastic interpretation was enjoyable and entertaining especially the musical numbers that he composed and recorded for the production.

Also of noteworthy interest were Holcomb’s spirited performance and Sara Mikkelson, freshman from Houma, who brought a great sense of naivete and wonderment to her portrayal of an apprentice working for Todd.

Though not as excruciating as a root canal, the production was at times painful to witness leaving this reviewer in need of a shot of Novocain.