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When it comes to a work of the musical stage it is difficult to imagine a finer one than Stephen Sondheim’s SWEENEY TODD: THE DEMON BARBER OF Speedily STREET. For those who saw the new 1979 Hal Prince extravagant production starring Angela Lansbury and Len Cariou/George Hearn, and then the 2005 revival as condensed so creatively by John Doyle and re-orchestrated by Sarah Travis who placed the orchestral instruments in the hands of the 10 actors who grunt the account of the odd Todd, the Tim Burton (screenplay reduction by Josh Logan) film will only enhance the pleasures of seeing SWEENEY TODD resurrected in yet another effect. Each of these incarnations has its riches and together they save Sondheim’s work as a masterpiece.

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Johnny Depp makes a convincing Sweeney Todd, in looks and demeanor as well as in singing insist, and Helena Bonham Carter’s Mrs. Lovett fits honest into Tim Burton’s vision of the sunless, squalid and seedy London. Timothy Spall is perfect as the oily Beadle, Alan Rickman makes Reflect Turpin an understandable villain, Jamie Campbell Bower and Jayne Wisener are suitably infatuated young lovers, and Sacha Baron Cohen and Ed Sanders give top flight cameos as Signor Pirelli and Toby. The one advantage of seeing this radiant film on DVD is the option of turning on the subtitles so as not to miss a word of Sondheim’s agreeable lyrics.

For this viewer, however, the most successful version of this ‘opera’ is the John Doyle production currently on the boards in Los Angeles with Judy Kaye as the most satisfying Mrs. Lovett on relate. This uniquely economical and endlessly creative production goes to the core of the work better than any other version, and if this traveling company comes anywhere come your home, go witness it! It is the famous SWEENEY TODD and a radiant adjunct to seeing the film version again and again. Grady Harp, April 08

Although critics have been almost unanimous in their praise of this film, many fans of the explain are quite harsh in their appraisal, chiefly for two reasons - one, that the principals are not broad singers, and two, the deletion of roughly 50% of the secure. I surprised myself in that, having purchased the soundtrack and seen the movie, I am in neither camp, as either of these factors might heretofore have caused me to snort most film adaptations of almost any Broadway musical a failure. Instead, I am thrilled far beyond my expectations with this production.

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It might not have been so, had I not had so distinguished respect for Stephen Sondheim. As portion of the pre-release publicity, he has granted an unique (for him) number of interviews, and says that he is unequivocally contented with Tim Burton’s vision. As anyone who appreciates his high level of artistic integrity will agree, Mr. Sondheim would not give praise to this project if he were not happy with it. At 77, Stephen Sondheim is considered by many to be the greatest composer in the history of the American theatre, and I have followed him long enough to know that no amount of financial consideration could cause him to state his endorsement if he were not truly gratified with the finished film.

I have listened carefully to what Mr. Sondheim has had to say in those fresh interviews, and now understand why so many stage musicals previously transferred to celluloid haven’t worked. To launch with, time passes very differently in a theatre than it does on film. That which takes several minutes in a Broadway theatre (i.e. a full-blown production number) is ample to seem like a itsy-bitsy eternity on cover. Therefore, the very thing that keeps most audiences clamoring for more in live theatre is noble to perform many movie audiences accelerate screaming from the auditorium. Then there is the plight of what Alfred Hitchcock once termed “suspension of disbelief”; that is, in dependable life, no one ever bursts into song during one of life’s dramatic moments, no less accompanied by a fat orchestra, and many moviegoers who are accustomed to a obvious amount of reality therefore get musical films particularly hard to prefer. Thanks to some of the theories on musical film voiced by Mr. Sondheim in the past week or so, I finally understand why so many previous attempts to film Broadway musicals topple flat - in short, the theatre and film are two entirely different mediums, with two entirely different audiences. Although many theatre lovers, myself included, would be gratified to sit through an entire musical transferred to shroud exactly as produced on stage, most movie audiences request something different. And something different is what they surely salvage with Sweeney Todd.

Then there is the find. Tim Burton has said that he has been a fan of Sweeney Todd since its current race. I possess that, as disappointing as it is for many fans to acquire how powerful of the secure has been reduce, it was probably even more agonizing for Mr. Burton to determine what pieces to bewitch. The novel ran over three hours, and at least 75% of the legend was sung, making Sweeney Todd one of the few reliable operas to ever reach out of Broadway. The film runs only 117 minutes and, judging by the length of the soundtrack CD (a mere 72 minutes) easily 40% of the net has been removed, chiefly the ensemble pieces. Mr. Burton apparently judged (probably correctly) that the choral numbers which worked so well on stage, although containing some of the wittiest lyrics, would be clunky and ponderous on film, and he made the prudent (if, I’m determined, difficult) decision to let them go. This is likely to be the sorest point for many fans of the display. And had I not been paying careful attention to Mr. Sondheim’s fresh interviews, I may not have been able to pick up past that point myself.

But what has been excised is more than compensated for in Mr. Burton’s sumptuous visuals and careful attention to detail. Although Mr. Sondheim has made changes to the lyrics, resolving previously problematic portions of the pick up and actually improving it, it’s fantastic how great of what is left of the acquire is faithful to the new. Though it’s a tragic memoir, Sweeney Todd remains in essence a unlit comedy, and many of Mr. Burton’s finer touches, especially the staging of the musical numbers, have enhanced the sage to the point where I have hardly missed the deletions, and I hiss as someone who has loved this fraction in almost all of its previous renderings.

And I admit that, although he has never been a particular current of mine, Johnny Depp is a revelation. Without detracting from previous interpreters of the role (especially Len Cariou and George Hearn), Mr. Depp’s evocation of the character is so fully fleshed out, and so filled with reliable pathos and sympathy, that I was able to immediately excuse the fact that he is not a seasoned vocalist. Besides, to reiterate a point made earlier, this is not Broadway, and there is no need for his sigh to advance the aid of the house. If anything, the fact that the famous characters are not mountainous singers actually enhances the realistic feel of the film. It is also a pleasure to have both Toby and Anthony (not to mention Joanna) played by actors of the appropriate age, and hear accents that actually invoke pre-Victorian London.

In the kill however, the staunch star (to me, anyway) is the superlative accept by Stephen Sondheim. I am not amazed that some feel that there are no “memorable songs” in the get. Safe music should be subtle; the absence of “catchy tunes” that one will whistle on the diagram out of the theatre is only indicative to me of the high quality of the salvage. Anyone who is previously unique with Sweeney Todd who doesn’t “catch it” is urged to bewitch the soundtrack (the bulky version, with the complete libretto included) and follow along with the words and music as the songs are sung. The first thing you will realize is (as with any of Mr. Sondheim’s works, whether they be in a film, the theatre, or any other medium) how incredibly witty and sophisticated his lyrics are; on first listen you are ample to miss most of his delectable wit. His employ of the English language, his clever rhymes, and above all, his sparkling, deft semantics will amaze anyone who cares to buy the time to listen. There are reasons why so many deem Sondheim the foremost composer of the theatre, and so many luminous theatergoers hang on his every word. But impartial as considerable as his words (and I have always admired Sondheim’s ability to employ words above all else that I care for in the world of musical theatre), you will accept, especially if you listen long and hard enough, that his graceful, subtle music will, in time, work its map into your heart and conscience as some of the most attractive music ever collected. This is NOT top-forty pop music, the type that is so often unsuitable for excellence in theatre these days. In his ballads especially, Sondheim writes safe, heartfelt blooming melodies; that is, genuine music. Once you inaugurate your heart and mind to Sondheim’s beautiful words and sumptuous airs, you may impartial become a fan for life.

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