By Natasha Parnian Cruelty and beauty are not opposites in this production of Stephen Sondheim’s Sweeney Todd: The Demon Barber of Fleet Street — they are dance partners. Riverside Center for the Performing Arts’ staging, seen September 12, 2026, finds the best and worst of human nature li ving side by side. Christian Fleming‘s scenic design is the production’s quiet triumph: richly detailed, atmospheric, and flexible enough to summon Fleet Street, a barbershop, and a bakeshop without ever feeling like a scene change. A moving staircase glides through the space like a living thing, and the slide that carries Sweeney’s victims from his chair to Mrs. Lovett’s ovens below is a wickedly clever piece of stagecraft — simple, brutal, and unforgettable. Nancy Anderson as Mrs. Lovett and Christopher Sanders as Sweeney Todd in ‘Sweeney Todd: The Demon Barber of Fleet Street.’ Photo by Suzanne Carr-Rossi. Weston Corey‘s lighting design deserves equal praise for its restraint. Rather than illuminating every corner, Corey lets shadow do dramatic work, keeping portions of the stage dark to capture the grime and menace of Victorian London. The costumes, designed by Bee Gable, and the wigs, by Bethany Cheek, complete the picture with period detail that never calls attention to itself, letting the story breathe. Director Patrick A’Hearn achieves something genuinely difficult here: he makes Sweeney and Mrs. Lovett human. Neither becomes a cartoon villain or a mustache-twirling monster; instead, A’Hearn finds warmth and vulnerability underneath the horror, and the audience is left liking — even rooting for — two murderers. His staging is full of arresting “stage pictures,” and his choice to send actors into the aisles blurs the line between audience and Fleet Street in the best way. The flashback sequence is especially effective, and by the final act, it was easy to forget this was in Fredericksburg and not New York City. The love and care poured into this production is evident in every scene. The pit orchestra, led by Carson Eubank, is flawless — tight, dynamic, and never once stepping on the drama. The company’s bookending performances of “The Ballad of Sweeney Todd” are genuinely chilling, the kind of vocal blend that raises goosebumps. “Kiss Me (Part 2)” stands out as a terrifying, gorgeous quartet, nearly overwhelming in its vocal richness. TOP LEFT: Madison Cox as Johanna; TOP RIGHT: Marco Giacona as Anthony Hope; ABOVE: Ensemble, Christopher Sanders as Sweeney Todd, John Sheldon as Tobias, and Nancy Anderson as Mrs. Lovett, in ‘Sweeney Todd: The Demon Barber of Fleet Street.’ Photos by Suzanne Carr-Rossi. Christopher Sanders‘ Sweeney Todd is gut-wrenching without a hint of presentational excess; his pain feels lived-in rather than performed. Opposite him, Nancy Anderson‘s Mrs. Lovett is a masterclass in tonal control — big and comic without tipping into caricature. Anderson is also a gifted physical comedian, at one point walking backward down a full staircase in a long gown while bowing, a genuine feat of stagecraft. Her “A Little Priest” mines laughs throughout without ever stealing focus from the story. The ensemble as a whole is precise and cohesive enough to rival a professional touring production, with Andrea Kahane and Austin Rose standing out vocally. Several supporting performances linger long after curtain: Madison Cox‘s Johanna reveals a vocal range rarely heard on a community or regional stage, particularly in “Green Finch and Linnet Bird.” Ian Lane, as The Beadle, surprises with a falsetto worth the price of admission alone — listen for it in “Ladies in Their Sensitivities” and “Parlor Songs.” Marco Giacona‘s Anthony Hope brings genuine, unaffected optimism and a beautiful voice, though his powerful vibrato occasionally swallows the lyrics. John Sheldon is a hidden gem as Tobias Ragg, shifting between the character’s many faces in a way that quietly reveals something true about human nature. Daniel Pippert relishes the showy awfulness of Pirelli, and his voice is one to watch. Elizabeth C. Butler‘s Beggar Woman is haunting throughout, balancing vigor and restraint in equal measure, and the “City on Fire” sequence in the asylum is downright frightening. Behind the scenes, Reilly Cooper‘s props and set dressing add texture without clutter, and stage manager Cody Medley clearly runs a tight ship — transitions throughout the evening were imperceptibly smooth. The production is so seamless that its rare hiccups stand out by contrast. Some of the lowest, most resonant vocal lines — particularly from Sanders‘ Sweeney and Andy Wynn‘s Judge Turpin — occasionally got lost, sounding muffled as though underwater. A few body mics had some feedback, and one actor began a line before their mic had warmed up. The blood-drip effect on the back wall during murder sequences could be clearer in its staging and purpose. A handful of line flubs, a stumble on the stairs, and a dropped prop rounded out the night’s minor imperfections — all forgivable this close to opening, and likely one-time jitters from an otherwise remarkably polished cast. These are small notes on an otherwise exceptional production. This Sweeney Todd is proof that a regional stage can deliver high-caliber craft, cast, and heart. Go for the staircase, stay for the voices, and brace yourself for how much you end up loving two killers. Running Time: Two hours and 30 minutes with a 20-minute intermission. Sweeney Todd: The Demon Barber of Fleet Street plays through October 25, 2026, at Riverside Center for the Performing Arts, 95 Riverside Parkway, Fredericksburg, VA. Tickets ($65–$82) are available online or through the box office at 540-370-4300, open from 10 am to 6 pm, Monday–Wednesday; 10 am to 7:30 pm, Thursday–Friday; 12 pm to 7:30 pm, Saturday; 12 pm to 3 pm, Sunday. Discounted senior and group rates are available (for details, click here. Evening performances start at 7:30 pm with dinner service beginning at 5:30 pm on Thursday, Friday, and Saturday. Matinee performances start at 1:30 pm with meal service beginning at 11:30 am on Wednesday and 3:00 pm on Sunday, with meal service beginning at 1:00 pm. Show TicketsAdult – $67Senior (65+ years) – $62Military (limit 4 per show, per account with ID) – $62Child (3-17 years) – $55Show tickets purchased online incur an additional $5 per-ticket convenience feeRush – $35 – available for same day, must mention RUSH to get the discount, no online sales, no adding dinnerDinner Tickets$25 + taxes, purchased with a mainstage performance ticketDinners purchased online incur an additional $2 per-ticket convenience fee The program for Sweeney Todd is online here. Check out the menu here. Natasha Parnian is the managing artistic director of Dark Horse Theatre Company, which she founded in Washington, DC, in 2009. She studied at UNC School of the Arts and has been active in the DC theater scene since 2005. She is a director, playwright, and producer known for her immersive staging and commitment to psychological realism. Beyond her theatrical experiments, Natasha owns two small businesses, leads corporate and educational workshops, but mostly enjoys life as a homeschooling mother, cross-country motorcyclist, and animal lover. She also serves as a performance strategist for TEDx and Toastmasters. She is a multifaceted artist dedicated to truth-telling and pushing the boundaries of the craft.  ...read more read less