Obsession with haunting grimness, and dark undertones that challenge the very core of morality, is at a fever pitch.

Some could argue that we are living in a golden age of true-crime sensationalism.

A flirtation with the unethical, in other words, has become a cornerstone in contemporary entertainment.

Stephen Sondheim, understanding this fascination then, was far ahead of his time while crafting his rage-fueled horror masterpiece musical, “Sweeney Todd: The Demon Barber of Fleet Street.”

Relishing in the blueprint that Sondheim delicately crafted, The Pennsylvania Playhouse continues the conversation built around unpacking the human soul. In a purposefully sour production, ”Sweeney Todd: The Demon Barber of Fleet Street” is a love letter to all things that live in the gray area. With an exploration of this proposed gray area, we can then start to understand ourselves.

Playhouse director and choreographer Darah Donaher, carried by an ensemble of self-conscious actors, seems to grasp this concept throughout. This demon barber tale is more than just a cautionary tale dipped in perpetual glum. It is, rather, a mirror to our desensitization to violence, a lesson in ethics, and on a broader scale, an isolated representation of the “great black pit” we live through.

Dread is hardly how one would describe a musical theater experience. In the Playhouse production, however, that is the best way to summarize the atmosphere.

Music direction is by Alex Garrido, set design is by Brett Oliveira and costumes are by Todd Burkel and Heather Sheldon.

Opening with “The Ballad of Sweeney Todd,” the full company sets the tone with sharp harmony, dense character work and nightmarish presence. Each actor fills the space with such poignant stillness leading to a consistent feeling of ick.

Mesmerizing in their delivery, the company made what could be easily dull into something more substantial. Being fiery while achieving uniform tranquility is a tall order for any actor. As a result of each actor’s commitment, though, it really starts to feel like you are just another nosey spectator on Fleet Street.

Adding surgical precision to the company’s stillness, as a convincing antihero, Nick Conti becomes Sweeney Todd. Appropriately menacing, and drenched in a nuanced darkness, Conti commands attention. He leads throughout with a consistently rich baritone, but the strongest moments are found in his mannerisms. He is almost so profoundly human that it began to read as grossly inhuman; it was as if Conti morphed into dreariness personified. Likening his performance to a poem, and its dynamic structure, is the best comparison to make in living through Conti’s reimagining.

Mrs. Lovett, as Sweeney’s unlikely sidekick, contributes a layer of humor that undercuts the seriousness prior. Beth Linzer, and her chaotically-enthralling presentation, made Mrs. Lovett an immediate favorite. Blending comedic timing with a grounded vocal performance resulted in what can only equate to sheer perfection.

For a show like this to find its feet, it first needs to find actors who can transcend the material. Linzer, particularly when married to scene partners, found a way to make her subplot the hero narrative. The magic with their performance was in the frazzled, albeit intentional, approach.

If Conti brought the rage, and Linzer brought the humor, it was only natural for Jonathan Riker (Anthony Hope) and Grace Oddo (Johanna) to bring the heart. Proving assertiveness through performances free of pitch issues, Riker and Oddo were a dynamic pair. Even in their own respective roles, with great care for Sondheim’s beautiful music, the actors managed to create an orchestra with just their voices.

Similarly, a fresh-faced Dylan Penyak (Tobias Ragg) was confidently floating through every song. While not being a direct protagonist, Penyak turned a familiar “Not While I’m Around” into one of the show’s best numbers

Penyak also played a part in making Adolfo Pirelli’s bizarre interlude-of-sorts a hit production number, too. “Pirelli’s Miracle Elixir” was, in any world imaginable, a crowd-pleaser in a show with not too many crowd-pleasers.

Mason McGowan, in his oddly electric embodiment of Pirelli, highlights the power of comedy in musical theater. With an over-the-top accent, a consistent vocal, and an energy reminiscent of Heath Ledger’s Joker, McGowan makes sure to not be forgotten amidst a very talented cast.

Cementing themselves as another key player is Alexis Connolly (Beggar Woman). Arguably the show’s most prominent lesson, there is a lot to unpack with her character. Connolly channels a certain believability necessary to make the Beggar Woman’s character have any impact by the end of the melodrama.

Each character in this harrowing production of “Sweeney Todd” has a role to play in shaping what is a detailed character study. While the play revolves around the idea of monstrosity, and what leads a man to such distaste, I would argue that Sondheim expects more from that conversation.

Perhaps, taking it a step further, maybe the play is inviting us to understand rage firsthand before we can understand another’s madness? Or, maybe, the musical is just a senseless cautionary tale and we are just supposed to be passive spectators of violence as we are daily. Whatever it may be, at The Pennsylvania Playhouse, Darah Donaher directs a razor-sharp thought piece worthy of slicing into more than once, maybe even twice.

Note: There’s a fundraising performance for Rotary District 7430 Rotaplast Program, Oct. 21, with complimentary beverages and food, and talk-back with the cast after the show.

Playhouse officials say that the wearing of face masks is not required but strongly encouraged.

“Sweeney Todd: The Demon Barber of Fleet Street,” 7:30 p.m. Oct. 6, 7, 13, 14, 20, 21; 3 p.m. Oct. 8, 15, 22, The Pennsylvania Playhouse, 390 Illick’s Mill Road, Bethlehem. Tickets: box office, 610-865-6665, http://www.paplayhouse.org/