- One ticket to see Eugene Opera’s production of Sweeney Todd: The Demon Barber of Fleet Street
- When: Friday, March 13, at 7:30 p.m., or Sunday, March 15, at 2:30 p.m.
- Where: Silva Concert Hall at The Hult Center for the Performing Arts
- Door time: 30 minutes before showtime
- Full offer value includes ticketing fees
- $31 for the left or right section of the orchestra, the right or left middle section of the rear orchestra, or the right or left middle section of the mezzanine (up to $49 value)
- $37 for the mid-front center section of the orchestra, the mid-front right or left section of the rear orchestra, the mid-front right or left section of the mezzanine, or the rear center section of the mezzanine (up to $58 value)
- Click here to view the seating chart
Sweeney Todd: The Demon Barber of Fleet Street
Set to a menacing yet playful score from Stephen Sondheim, Sweeney Todd: The Demon Barber of Fleet Street elicits chills and chuckles while also exploring the obsessive nature of revenge. As the curtain opens, exiled barber Sweeney Todd returns to London after 15 years. He quickly learns that the judge who banished him also raped his wife, thus driving her to suicide. Overcome with grief and hatred, Todd swears vengeance against those who wronged him, but his ire soon moves from the guilty parties to all of humanity. He begins murdering customers at his barber shop, then—seeking a way to dispose of the bodies—allies with Mrs. Lovett, the owner of a neighboring meat-pie shop.
Winner of several health code violations and the Tony for Best Musical when it premiered in 1979, Sweeney Todd has become a classic in both the opera and theatre repertoires. Sondheim’s sophisticated score both humanizes and darkens the story, with moments that provide quite a challenge to even the most accomplished singers. Eugene Opera favorite Anne Allgood will tackle the whip-quick wordplay of Mrs. Lovett’s “The Worst Pies in London,” while Todd’s menacing baritone notes will rumble forth from Christopher Burchett, another Eugene Opera stalwart.
"Eugene Opera," wrote the Eugene Weekly in a 2013 profile, "is helping make opera relevant to 21st-century Oregon." But the company isn't just working on creating a new generation of fans, it's pushing the future of the art form forward. To that end it stages daring contemporary works that present relevant social issues, from the examination of the prison system in Jake Heggie's Dead Man Walking to the study of mythology in John Adams' Nixon in China. Yet it certainly hasn't forgotten the classics. Since its debut performance of Carmen in 1976 the opera regularly sprinkles its seasons with hallowed works by the likes of Stephen Sondheim and Puccini.
Contemporary works aren't the only way the company looks forward, either. Their Artist Mentor Program sends members of the opera chorus into the community to interact with students and young musicians, while the Eugene Opera Academy gives high schoolers with interest in any element of the productions a chance to get their hands dirty.