Thurrock Nub News editor Neil Speight reviews TOPS' opening night of Sweeney Todd at the Thameside Theatre.

ANYONE who knows me, and many who don't, will know that I rarely struggle for words.

I left Thurrock's Thameside Theatre this evening (Thursday, 12 November) quite dumbstruck, though I think I managed a 'wow' as I was asked what I thought!

One of the problems of reviewing 'amateur' productions is the possibility of being too kind rather than saying what you really think. But in truth, there have only been a couple of occasions leaving the Thameside over the past 22 years when I have pondered deeply about what to say because of the danger of offending people who have done their very best.

Thankfully, that was not a problem tonight. My problem was finding the appropriate accolades. I was blown away by the depth of emotion, drama and passion that flowed from the stage of this community theatre, which has, in my experience never better shown why it is a true borough gem than tonight.

TOPS had a hard task to address when they invited me to attend and review. I have only ever left a theatre once in the opening acts of a production. It was in 2012 when I left the West End's Adelphi Theatre production of Sweeney Todd, turning my back on a cast that included Michael Ball and Imelda Staunton because I thought it was a raucous shouting match that did nothing to earn the accolade of being a musical. (To be fair, I think I was very much in a minority).

It left me totally sceptical and prejudiced about Stephen Sondheim and ever since I have been ambivalent about his work. Not even a huge trophy room of Tonys, Oliviers and other awards challenged my opinion.

And I'll be honest, five minutes into tonight's performance, I was of the same opinion. But suddenly the light that had been disconnected from my obviously stupid brain switched on.

I became engrossed in a plot, fascinated by characters and totally absorbed about 'what happens next'. Not knowing, or even caring, about 'Sweeney Todd' suddenly became a huge advantage – not a problem. I was desperate to know what happens next.

So first up, in terms of plaudits, I take my hat off to TOPS director Josh Handley – now a TOPS veteran and a clearly accomplished performer. But he has surpassed those talents with his eye for direction and staging. In the limited space of the Thameside – and with the usual limited budget - he has crafted a masterpiece of understated genius.

Less, as they say, is more. And some scaffolding, a couple of chairs and some stepladders were more than enough to set a perfect stage for the performers. Coupled with some brilliant lighting and a stunning musical accompaniment from musical director Clare Benson's nine-piece orchestra, this was a masterclass of presentation and production.

If, like me, you are not familiar with the story of Sweeney Todd, or at least the musical version, I can only best describe it as Les Misérables meets Oliver with a dash of West Side Story thrown in. Which is probably totally pointless if you don't know or like musicals. I could try Charles Dickens meets Eastenders, but it's just another metaphor trying to explain something gripping, though I'm not sure why. Which is, of course, the magic of live performance and theatre.

It's raw, in your face and very loud. It's dark and often without humour. And I have to say, I thought it was brilliant. Which, I think, is another tribute to the Thameside. It turned something that didn't impress me with superstars, a West End stage and a bagful of accolades into something truly memorable.

If I'm truly honest, I have left some recent Thameside productions like TOPS' 2025 Calendar Girls and Come from away, wanting to go back the next night. Sweeney Todd is not like that. Once is probably enough, which is a good thing as I think it's sold out tomorrow. But once really is more than enough and I will never forget it.

Nor will I forget some truly awesome performances. Ian Benson has been brilliant in a number of Thameside productions for TOPs (and Courts players) and he was very good here. And he delivered some truly emotional moments that made it difficult to believe he was once (in fact twice) René!

But for me there were two outstanding actors.

Angela Phillips returns to TOPs as pie-maker Mrs Lovett and not only turns in a top vocal performance, her characterisation is perfect. She's the one potentially comic character in the cast but nevertheless has a hidden malevolence and self-interest and Angela delivers what is required in every way.

The other true gem in a sparkling collection of actors is Lauren Ghost as 'beggar woman'. Every time she was on stage it was difficult not to focus on her, even when others had the leading lines. It was a breathtakingly good performance.

Of course, any production is not just about a couple of people, it is the sum of all its parts.

The other principals were Garry Wood and Laura Maguire who shone as the love interest, Sam Knight and Andy Shore were convincing villains while Ross Howard as Adolfo Pirelli was flamboyance personified. And Billy Knowles did everything that could be expected as the affable, innocent and besotted Tobias Ragg.

Around those principal players there are an amazing 17 other players sharing the stage. Each and every one got a moment in the spotlight and they came together as a truly talented ensemble who not only sang and acted their way through a complex performance, but didn't put a foot wrong on a very crowded and small stage. A real tribute to their commitment, choreography and ability.

It would be unfair not to name check them; so well done Rob Morley, Mick Messenger, Angela Davies, Hollie Brown, Abi Cherry, Steve Saywer, Joe Drury, Louise H Dougherty, Will Messenger, Leah Cottis, Annaliese Day, Quinn Smith, Helen Wach, Emma Rowson, Clair Bezela, Mia Dean and Fleur Sumption.

Together, all the cast, the musicians and the backstage and technical team produced something truly memorable. It's a credit to TOPs that they never shy away from taking on challenges. They met this one head on and succeeded.

We don't know yet what TOPs will take on in 2027, but whatever it will be, I look forward to it.