A Conversation with DeAndre Simmons

On becoming Sweeney Todd, working with Barbara Cook, and balancing opera & musical theatre

It was wonderful to meet American bass DeAndre Simmons ahead of his starring role as Sweeney Todd with San Diego Musical Theatre. DeAndre has a wealth of experience in operatic, symphonic, and musical theatre contexts, and I was really keen to find out how he approaches a role like Sweeney from these perspectives. He also discusses the time he spent working with Barbara Cook, and with Sondheim himself. Our conversation begins below:

📸: Dario Acosta

We're speaking a couple of weeks before your Sweeney Todd opens, which is very exciting. I know it's a dream role for you, and a show that you’ve known for years and years. How does it feel to actually be Sweeney for the first time?

It's tremendous. You think, “Oh, here are my top five roles in the world of performing.” And obviously I have some in the opera world as well. But in musical theatre, this is it. This is the pinnacle of what I have ever wanted to do in terms of roles. And I've only really put direct musical theatre (that isn’t attached to an opera house or a symphony) back in my program, so to speak, over the last four years. So to be in this role so quickly is not only head-spinning, but is just incredible. I walk into rehearsal every day absolutely elated that I get to sing this music, that I get to walk in these shoes. It's just incredible. I don't even know if I have all the adjectives to explain it just yet.

Just last weekend, there was a Sondheim concert with the San Diego Symphony, where Len Cariou was one of the guest artists. And to see him up there at 80 plus years old still doing it, and still doing it marvelously, it was so inspiring and encouraging and all that great stuff. I got him to sign my score.

It’s funny you mention Len Cariou, because Sweeney is one of those roles with such a glittering performance history. What has it been like to find your own way into this character and make Sweeney your own?

The specificities of other roles are not as intense by the composer as they are in this score. And because they are so intense, it's easy to just follow what he says, and suddenly, bit by bit—no pun intended—you start to develop this style. And yes, of course Mr. Cariou created the role. But that doesn't take away from the fact that George Hearn was an extraordinary Sweeney also. So was Michael Cerveris, and so was Brian Stokes Mitchell. So yes, I've listened to the recordings, and I listen to them all the time. But what I don't do is listen to one recording at a time. I don't rewind “My Friends” or “Epiphany” or something with one person, for that exact reason. You don't want their opinions and ideas to seep into your mind, because of course you'll walk on stage and then do that, regardless of whether you think you are or not, because it becomes ingrained.