

- #SWEENEY TODD SONGS JOHNNY DEPP LYRICS MOVIE#
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If you want to make it to “Assassins” in October.Sweeney Todd: The Demon Barber of Fleet Street is a 2007 film directed by Tim Burton. Just don’t let Sweeney’s razor go beneath your chin. The downside in the production is that aside from those mentioned, most of the rest of the cast don’t act nearly as well as they sing.īut while some of the over-emoting takes you out of the moment here and there, once they begin to sing, London becomes a very comfortable place to get a shave and a haircut. Meghan LaFlam (an operatic Johanna) and Remo Airaldi (what a Beadle!) are also excellent singer-actors and the ensemble singing is superb. I wouldn’t go as far as to say you root for Chew and Broome.
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When Chew sings “I’m full of joy” at the end of his rant about his plan to exact revenge on the world for the dirty dealings he’s had you can almost feel a chill go up the audience’s collective spine. Howland's relatively naturalistic two-tier set - not a unique way to go about staging Sweeney, anymore, but the naturalism pays dividends here. Veloudos decided to play down the grand guignol elements - no bizarro makeup even if Christopher Chew as Sweeney does look a bit like Wolverine’s older brother. Though, of course, it tastes of wherever it’s been. Lovett offering him a choice of various professions - to eat. And talk about lyrics that don’t grow old. Sondheim is as playful as he is dark and his lyric-writing was as sharp as ever in 1979. Lovett’s meat pies.Īctually, it is delicious. Lovett and, after the judge eludes his grasp he goes on a killing spree in his barber shop the victims becoming the ingredients for Mrs. Barker/Sweeney, a barber, hides out with Mrs. Recapping the story, Sweeney (nee Benjamin Barker) comes home and is told that his wife committed suicide after Judge Turpin had his way with her and then absconded with Barker’s daughter. Lovett’s lust, even the judge’s misery over his age-inappropriate longings. There’s certainly more genuine emotion in this production than in most Sweeneys.
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How did the musical musings of a serial killer become the 'Midsummer Night's Dream' of Stephen Sondheim's output?

But I was really struck at the Lyric production, probably more so than in the higher-priced spreads, what a masterful balance Sondheim and book writer Hugh Wheeler strike between black comedy and tragedy, grand guignol and 19th century romanticism like “Les Miz” (the staging, not the execrable music).


So how did the musical musings and machinations of a serial killer become the “Midsummer Night’s Dream” of Sondheim’s output? There’s the terrific score, of course.
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Since that wonderful New Rep production I’ve seen the John Doyle version with musicians playing their instruments, the road company extension of it, Julianne Boyd’s Barrington Stage version, the New York Philharmonic concert performance with George Hearn, Patti LuPone and Audra McDonald and Tim Burton’s movie with Johnny Depp and Helena Bonham Carter. I have to admit to a bit of Sweeney fatigue myself. Music director Jonathan Goldberg continues his fine collaborations with Veloudos. He’s been working his way through the Sondheim oeuvre at the Lyric with one distinguished production after another and “Sweeney” is another feather in his cap, imaginatively staged and beautifully sung. If this seems like running in place, who wouldn’t want to do a Sondheim musical if you’re doing contemporary theater? No other living musical writer comes close to him except Jeanine Tesori when she’s partnering with a Tony Kushner or Lisa Kron. 11) and the New Rep following with “Assassins” (Oct. The New Repertory Theatre under Rick Lombardo hit its stride in 2003 with a masterful “Sweeney Todd: The Demon Barber of Fleet Street.” That production was a turning point in Lombardo’s and the New Rep’s success.Ĭoincidentally, the two theaters are trading this year - the Lyric beginning its season with “Sweeney Todd” (through Oct. It also signaled that Veloudos was taking the Lyric in new, more contemporary direction. When Spiro Veloudos became artistic director of the Lyric Stage Company of Boston in 1998, one of his first productions was a spectacular version of “Assassins,” a musical that others shied away from because of the controversial subject matter of presidential assassinations. To some extent, you can measure the rise of Boston’s midsize theaters by how well they have translated the musicals of Stephen Sondheim into a chamber setting. Howard) This article is more than 7 years old. Amelia Broome and Christopher Chew starring in "Sweeney Todd" at the Lyric Stage Company of Boston.
