Friday, October 31, 2025 • 7:30 PM

Sunday, November 2, 2025 • 2:30 PM (sold out)

Music & lyrics by Stephen Sondheim • Book by Hugh Wheeler
From an adaptation by Christopher Bond

The Egyptian Theatre

Run Time: 2 hours and 45 minutes, including intermission

Enhance your evening with our pre-performance dinner; just 24 seats available.
Click here to learn more & reserve your seat.

Just in time for HALLOWEEN, Opera Idaho presents its first fully-produced musical: Sondheim’s intense tale of crazy love and obsession set in gritty Victorian London and filled with razor-sharp wit and a haunting musical score.

Content Warning:

The production contains simulated depictions of sexual assault without nudity, violence, gore, gun use, and death.
This production is suitable for individuals familiar/comfortable with content aimed at PG-13 rating.

The Artists

Jeffrey Mattsey

Jeff Mattsey
Sweeney Todd

Kathryn Frady
Mrs. Lovett

Christopher Holmes
Judge Turpin

Emma Petersen
Johanna

Patrick Starke
Anthony Hope

Peter Lake
Beadle Bamford

Andrew Peck
Adolfo Pirelli

Cody Bray
Tobias Ragg

Jena Carpenter
Beggar Woman

Rose Freeman
Stage Director

Andy Anderson
Music Director/Conductor

Supernumeraries
Mia Hoffman
Lili Prihode Aldana
Kyle Vega
Abigail Miller
Don Reiman
Conner Schumacher

Covers
Jason Detwiler, Sweeney
Michele Detwiler, Mrs. Lovett
Shelby DeBoard-Ulrich,
     Johanna
Joe Coletti, Pirelli
Greg Watts, Turpin
Cody Boling, Beadle

Opera Idaho Chorus

Soprano
Caitlin Carlberg
Kristen Dittman
BrieAnne Welch
Shelby DeBoard-Ulrich
Melissa Bagwell
Sarah Smith

Mezzo-Soprano
Amanda Gardner
Melinda Harper
Shelby Boice
Angela Sprague
Aubrielle Holly

Tenor
Joe Colletti
Alexander Hill
Tommy Duff
Jonathan Perry
Parker Pratt (Bird Seller)

Baritone/Bass
Erik Noyce
Colin Cho (Jonas Fogg)
Brayden Olson
Eliot DeHaven
Gregory Watts

Opera Idaho Orchestra

Members participating in this production:

Violin 1
Kathy Stutzman, Concert Master
Lauren Folkner
Jessica Harned

Violin II
Dawn Douthit, Principal
Heather Calkins
Alex Nicholls

Viola
Dave Johnson, Principal
Linda Kline

Cello
Micah Claffey, Principal
Stephen Mathie

Bass
Ryan Petriello, Principal
Nathan May

Flute
Melanie Keller, Principal
Christina Yarnot (flute/piccolo)

Oboe
Ryan Klein, principal

Clarinet
Bryn Huntington, principal
Leslie Moreau

Bassoon
Janelle Oberbillin, principal

Horn
Brian Vance, principal

Trumpet,
Derek Ganong, principal
Zach Buie

Trombone
Sarah Paradis, principal
Luke Strother
Bill Waterman

Timpany
Matt Grady, principal

Percussion
Kramer Milan, principal

Keyboard
Betsi Hodges, principal

Harp
Merinda Christensen Starnes

Production Team

Anthony Colombo, Production Director
Rachel Kilgore, Stage Manager
Carlyn Jones, Assistant Stage Manager
Toni Machi, Associate Director/Intimacy Director
Betsi Hodges, Staff Pianist
Kelly Kaye, Chorus Master/Titles Operator
Nico Hewitt, Technical Director
James Haycock, Scenic Designer
Keri Fitch, Costume Designer
Danyale Cook, Hair/Makeup Designer
David Goodman-Edberg, Lighting Designer
Rachael Fry, Props Master
Melanie Keller, Orchestra Contractor
Chris Pedersen, Master Carpenter
Dr. C. Michael Porter, Education Outreach Coordinator
Kerry Calverley, Opera Idaho Children’s Chorus Director
Yurek Hansen, Choreographer
Dakotah Brown, Dialect Coach
Elliot Prestwich, Egyptian Theatre Manager
Nick Roberts, Carpenter
Rob Tucker, Carpenter
Amandalynn Lovewell, Scenic Charge
Ciera Tucker, Scenic Painter
Brecken Bird, Scenic Painter
Arabella Lytton-Gay, Scenic Painter
Jenna Adsitt, Stitcher/Dresser
Shawna Gee, Dresser
Grace Burgess, Dresser
Sydney Routin, Dresser
Tawny Fox, Hair/Makeup Artist
Amanda Woods, Hair/Makeup Artist
Blayke Secord, Hair/Makeup Artist
Satya Linak, Hair/Makeup Artist
Natalia Vasquez, Hair/Makeup Artist

Program Notes

Sweeney Todd has evolved dramatically since his first appearance in Victorian-era fiction, growing from a sensational character in penny dreadfuls (a type of horror periodical from the era) into the complex antihero of modern musical theater. The story originated in The String of Pearls, serialized during the winter of 1846–47. Set in 1785, it featured Sweeney Todd as its principal villain and included many of the plot elements used in later versions. The tale was so popular that a stage adaptation appeared before the final installment was even printed. By the 1870s, after multiple editions and adaptations, Sweeney Todd had become a familiar figure to most Victorians.

Nearly a century later, playwright Christopher Bond reimagined the character in his 1970 play, adding a psychological backstory and tragic motivation. In this version, Todd is a victim of a corrupt judge who exiles him and assaults his wife, setting the stage for Todd’s descent into revenge. Stephen Sondheim saw Bond’s play in 1973 and immediately began developing it into a musical. Originally, Sondheim envisioned the show in an intimate, shadowy space where audiences would feel directly implicated in the horror. But over time, the piece has proven its strength across a wide range of productions—from chamber stagings to grand-scale revivals—each highlighting different facets of its psychological depth.

Sondheim’s adaptation didn’t just bring Bond’s version to the stage, it used music to deepen the psychological weight and intensity of the story. Over 80 percent of the production is sung or underscored, with each musical element intricately tied to the next. Sondheim’s score functions like a tightly engineered machine, advancing character and plot with precision. Nowhere else in his body of work is music used so thoroughly to drive the drama forward.

The Story

A chilling chorus sets the scene in 1846 London, where a factory whistle screams and the citizens beckon the audience to witness a tale of blood and vengeance

Sweeney Todd, once known as Benjamin Barker, returns to London with a young sailor, Anthony Hope, who saved him at sea. Sweeney reveals he was falsely exiled by the corrupt Judge Turpin, who coveted his wife, Lucy. On Fleet Street, Sweeney visits Mrs. Lovett’s pie shop, where she tells him Lucy was raped by the Judge and later poisoned herself. Their daughter, Johanna, is now the Judge’s ward. Mrs. Lovett, recognizing Sweeney’s true identity, returns his barber razors. He vows revenge.

Meanwhile, Anthony glimpses Johanna in a window and falls in love. He tries to connect with her, but the Judge and his enforcer, the Beadle, keep him away. Sweeney reestablishes himself as a barber by besting a flamboyant rival, Pirelli, in a public shaving contest. When Pirelli later threatens to expose Sweeney’s identity, Sweeney kills him.

Judge Turpin, obsessed with Johanna and planning to marry her, agrees to a shave at Sweeney’s shop. Sweeney prepares to kill him but is interrupted by Anthony, who blurts out his plan to elope with Johanna. The Judge storms off. Furious, Sweeney snaps. He declares no one is safe from his blade. Mrs. Lovett suggests using his victims in her meat pies. The two form a gruesome partnership.

As business booms, Anthony discovers Johanna has been locked in an asylum. Sweeney helps him pose as a wigmaker to infiltrate it. Meanwhile, Mrs. Lovett, now guardian to Pirelli’s assistant Toby, tries to keep the boy from discovering their secret. But Toby grows suspicious and is eventually locked in the bake house cellar.

Johanna kills the asylum director during her escape. Anthony brings her to Sweeney’s shop and hides her while he fetches transport. In the chaos, the Beggar Woman reappears, warning of danger. Sweeney, not recognizing her as his wife, Lucy, kills her to silence her.

When the Judge returns, Sweeney reveals his true identity as Benjamin Barker before slitting his throat. Johanna narrowly escapes the same fate. In the bake house, Sweeney realizes the Beggar Woman was Lucy all along. Enraged at Mrs. Lovett’s deception—she knew Lucy lived but said she was dead—he kills her by throwing her into the oven.

Sweeney mourns Lucy’s body until Toby, traumatized and white-haired, appears behind him and slits his throat.

In the epilogue, the chorus warns that the thirst for revenge only leads to destruction. Sweeney rises, glares at the audience, and slams the oven door shut.