SWEENEY TODD: THE DEMON BARBER OF FLEET STREET

December 21, 2007

Dear Stephen Sondheim,

I’ve been a fan of your work, though not a crazy acolyte of which there are many, for years. There have been shows along the way that haven’t melted my heart or mind as much as others. I never warmed to Assassins, for example. Pacific Overtures just wasn’t my proverbial cup of tea. Of course, at the other end of the spectrum is Follies, my favorite musical of all time, and even the lame Broadway production of several years ago can’t diminish what I feel and think about this towering work. Which brings me to Sweeney Todd, your show that, for me, comes right after Follies in terms of greatness. I know many people have a hard time with it…seeing as the central theme is revenge murder and baking the murdered into meat pies. Albeit tasty ones! Cannibalism, Hannibal Lecter aside, has never been a particular crowd pleaser. Sweeney also comes closer to opera, a more refined art form than the Broadway musical, and has been performed in opera houses around the world. Opera or not, it is, musically, your greatest work bar none, and that’s saying a lot considering what you’ve written. If it weren’t for the subject matter, I think it would be more widely accredited as such.

Now, almost 30 years after Sweeney’s Broadway premiere, the film version takes to the big screen. I understand that you’re over the moon about it. It seems that director Tim Burton has wanted to turn your musical into a film for some time now (congrats to him for pestering you), and I’ve heard that you had approval of both director and the film's stars (Johnny Depp as Sweeney Todd and Helena Bonham Carter as Mrs. Lovett). Wisely you chose to approve all three. The film is a brilliant and extraordinary rendering of the original. It is an accomplishment that will hopefully be rewarded for neither dumbing down the work nor pandering to the masses. OK, so I couldn’t help but think during my first time watching it how it was going to fare commercially. That’s usually something I would intellectualize after having seen the entire film. But here, with all the gore and blood, you can’t help but wonder who the audience will be. The Saw crowd will disdain the musical aspect; the musical comedy folks will hate the Hostel-like gore. As wonderful as the film is, I just wish all the throat-slitting wasn’t quite so gory. Nonetheless, I wildly applaud this effort by Burton and all of his collaborators. Stripped of its Brechtian-like show setting, it’s presented on film as pure horror show. While there is a lot less humor than in the original, and while the singing may not be as dynamic as on Broadway or in the opera house, the total commitment of Burton, Depp, Bonham Carter, a fine supporting cast, and a courageous producing team is inspirational.

Best of all, I just heard a report that films of Follies and Company are in the works now that Sweeney has been committed to celluloid. I’m excited and hoping those rumors turn out to be true.

                                                       Sincerely,

                                                       Jim Baldassare