MANILA, Philippines—It was a rainy Saturday night when I headed to Onstage in Greenbelt 1 to watch “Sweeney Todd,” Repertory Philippines’ newest musical offering—very appropriate weather for this macabre tale of revenge.

“Sweeney Todd” (title role played by Audie Gemora) is about a barber named Benjamin Barker, who was wrongfully sent to prison in Australia by the lecherous and corrupt Judge Turpin (Roger Saldo Chua) who lusts after Benjamin’s wife, Lucy. The Judge seduces and rapes her. Reeling from the shame, Lucy poisons herself. Judge Turpin adopts the Barkers’ daughter, Johanna (Lena McKenzie), but as she blossoms into a woman, he decides to marry her.

Benjamin, renamed Sweeney Todd, comes back to England and plots his revenge against Turpin and his equally diabolical accomplice, Beadle Bamford (Robbie Guevara). Benjamin returns to his old barbershop, above Mrs. Nellie Lovett’s (Menchu Lauchengco-Yulo) meat pie shop. She helps him reestablish his trade and returns to him his beloved razors), and he helps her with her meat shop supplies.

This is certainly not family-friendly fare, but it is absolutely sublime material, one that singers and actors could most certainly sink their teeth into.

I was 18 when I was gifted with the “Highlights from Sweeney Todd” CD, and I immediately fell in love with the score, story and lyrics (that piercing whistle still sends chills up and down my spine). Years later, I bought the entire cast recording and, around that same time, watched the movie starring Johnny Depp and Helena Bonham Carter.

That rainy Saturday was the first time I saw this musical live on stage. The verdict: It was three hours well-spent.

As a whole, the cast gave a very good performance, but there were standouts—actors and singers whose brilliant characterizations left indelible imprints on my mind.

Audie Gemora

It had been a few years since I saw Audie as the leading man in a musical (he had unforgettable turns as Javert in “Les Misérables” and Billy Bigelow in “Carousel”), but I have to say that this is the best thus far. The role of Sweeney falls right in his singing sweet spot. There wasn’t one wrong note he sang, or one wrong move he made. Audie was mesmerizing and riveting, and if you haven’t fallen in love with him yet in past productions, you will here.

Menchu Lauchengo-Yulo

I have worked with Menchu off and on for many years, and I enjoy watching her onstage (even when I happen to be doing a scene with her). I’ve always been a fan of her insightful interpretations, comic timing and emotional commitment.

I knew that I would be in for something delicious with her portrayal of Mrs. Lovett. Menchu’s portrayal of this practical and opportunistic woman was spot on. She turned what could have been a one-dimensional caricature into a flesh-and-blood human being with wit and humor. Also, she truly understood the intricacies of Sondheim’s seemingly dissonant score—every swat of her hand and hit of her rolling pin matched what’s going on in the music, and made perfect sense of it all.

I only wish her microphone could keep up with her (toward the end of the evening, it caused spikes of unbearable static).

Marvin Ong

It’s always a moment to remember when someone unknown puts on a performance so brave and daring that it makes you jump out of your seat. That’s what I experienced watching Marvin. His Tobias was consistent, and his vocal prowess amazing. This is a character with a slow and simple mind, and Marvin mined it for all it was worth, all the way to the end.

I look forward to his future performances. From this very grateful member of the audience, bravo!

Group perfection

Two groups should be mentioned for their cohesion and precision: the entire onstage ensemble and FILharmoniKA.

As far as this ensemble goes, it was perfect—a group of strong actors and singers comprising the “Greek chorus,” our narrators and storytellers.

The orchestra, conducted by Gerard Salonga, was nothing short of luscious and full-bodied (despite there being only 13 of them in the pit at one time). Sondheim had written a demanding score (brilliantly orchestrated by the masterful Jonathan Tunick), but these players were up to the challenge, and I must laud them.

Also worthy of mention are Liesl Batucan, almost unrecognizable in her turn as the schizophrenic and demented Beggar Woman; and Franco Laurel, with his soaring vocals as the sailor Anthony.

Congratulations to directors Baby Barredo and Michael Williams for their treatment of this now classic piece of musical theater heaven; set designer Mio Infante for keeping our eyes on the action, not the scenery; lighting designer John Batalla for creating an eerie atmosphere against which the actors could play; and costume designer Gino Gonzales for those wonderful period-yet-modern creations!

This is a theatrical event not be missed! I would like to see it once more, and be the first on my feet at the end.

Call 887-0710, or visit http://www.repertory.ph.