text: The story of Sweeney Todd evokes memories of the work of classic writers like Charles Dickens, and more contemporary writers like Edward Gory. As a musical, it naturally becomes more like the musical Les Miserables. Both deal with the grim effects of poverty in the Industrial Revolution, and the breakdown of organized society. But this musical is different from Les Mis in one very important aspect: Stephen Sondheim, the songwriter who can adapt to any style. To be sure, he's had his successes and failures, but one thing about his shows you can always count on: They will be something unique. Who would have thought someone would write a musical about a barber who slits people's throats and makes them into meat pies? Sondheim did, and he did it marvelously. The entire show is set in a factory, to suggest the ever-present catastrophic effects of the misery of those at the bottom of society, and this serves the needs of the show perfectly. The catwalks and railings are moved throughout to suggest streets and walkways and bridges. Techniques are borrowed from Kabuki and Noh, with the visual stagehands and set changes. Then, to top it all off, cast the great Angela Lansbury as the gruesomely practical and humorous Mrs. Lovett, and George Hearn, with his operatic baritone voice, as the murderous Todd, and you've got yourself a stellar musical vehicle. The rest of the cast moves smoothly through the clichés of the love story perfectly, except for Johanna and Pirelli, who sound a bit too forced. If the Johanna and Pirelli from the Broadway show could be here, it would be perfect. Hearn acts while he sings more than Len Cariou on the OBC album, and the accents don't sound as forced here. Through it all Sondheim's score never fails to underline the dark seriousness of the story. As I said, he can adapt to any style. In Follies he imitates the '30s '40s style of showtunes, in Pacific Overtures he captures the subtle art of Asian music, Into the Woods knocks off the 32 bar Disney style songs, and Assassins covers a history of American music. Here, however, he does wonders in making his score distinctly English, from parlour songs to operatic duets and soliloquies to society waltzes to Gilbert/Sullivan style patter. And yet still, the show remains deadly serious, even though it provokes more laughs than any musical comedy. In it still, is a grim warning on the evils of taking revenge. Here is where this movie makes a mistake, in cutting the Judge's solo in which he flagellates himself out of guilt for his crimes. Without it, the Judge is just a conventional villain, and this movie's point is that there are no straight villains. Both Todd and the Judge learn, too late, the horrors of having to accept responsibility for their actions, and Todd loses everything in his obsession. This is well brought out by the chilling reprise of the grim yet rollicking Ballad of Sweeney Todd, ending the show with Todd and Lovett rising from the grave to tell us that the end is the same: in a world full of Sweeneys, vengeance begets only vengeance. "Attend the tale of Sweeney Todd. He served a dark and a vengeful God. To seek revenge may lead to Hell, but everyone does it, and seldom as well as Sweeney, as Sweeney Todd, the Demon Barber of Fleet Street."