Runtime (2 hours and 30 minutes)
- Prologue
- Act I
- Intermission
- Act II
- Epilogue
Overview
Attend the tale of Sweeney Todd . . . the dark and brooding, yet sharply comic, story of love, revenge, and meat pies. In his multiple-Tony-Award-winning musical, the late and much-beloved Stephen Sondheim created what Washington Post classical music critic, Anne Midgette, calls “the great American opera of the late 20th century.” At the broken heart of the story is the wrongly exiled barber, Sweeney Todd, as he returns to London to seek revenge on the lecherous Judge Turpin who ruined his life and destroyed his family. When Todd reunites with the ever-resourceful and ever-unscrupulous Mrs. Lovett, the owner of a local pie shop, his razor-sharp need for vengeance soon supplies Mrs. Lovett with as much meat as she needs for her new and highly popular range of delicious meat pies. But Sweeney’s desperate hunger for revenge cannot be satiated by a meat pie, however tasty.
Wielding his ruby-dripping razors as Sweeney Todd will be bass Kevin Burdette, who audiences will remember climbing the slopes of Everest in January 2020. Grinding up the worst type of mystery meat will be Grammy-winning soprano, Mela Dailey, as Mrs. Lovett, making her long-awaited return to Austin Opera since The Manchurian Candidate in 2016. Baritone Mark Diamond (Lauren + Mark Digital Concert Event) makes his live production debut as Anthony. Making her Long Center Season debut is Raven McMillon as Johanna. Raven last appeared in Austin Opera’s The Impresario, December 2020.
Wielding a searing baton, rather than a blood-soaked razor, is Sarah and Ernest Butler Principal Conductor & Artistic Advisor, Timothy Myers as Doug Scholz-Carlson directs this blood-chilling and darkly hilarious production which spirals through the gaudy filth of 19th century London. As Sondheim’s distinctive music blends beautiful melody and harsh discordance, the electrifying action drives its disturbing tale from the veiled brutality of upper-class houses through the violent underbelly of the city’s working-class streets and docks, and ultimately, to its inexorably tragic conclusion in Mrs. Lovett’s bakehouse. As Sweeney himself says, “There’s a hole in the world that’s a great black pit, the vermin of the world inhabit it, and it goes by the name of London.”
Saturday, January 28, 2023 at 7:30 p.m.
Thursday, February 2, 2023 at 7:30 p.m.
Sunday, February 5, 2023 at 2:30 p.m.
Thumb through a digital copy of the performance program
Cast and Creative Team
Conductor
-
Timothy Myers
Sarah and Ernest Butler Principal Conductor & Artistic Advisor
Director
-
Doug Scholz-Carlson
Stage Director
Cast
-
Kevin Burdette+
Sweeney Todd
-
Mela Dailey+
Mrs. Lovett
-
Mark Diamond*+
Anthony
-
Raven McMillon*+
Johanna
-
Christian Sanders*
Tobias Ragg
-
Ron Raines*
Judge Turpin
-
Zoie Reams*
Beggar Woman
-
Angel Romero*
Pirelli
-
Bille Bruley
Beadle
Creative Team
-
Doug Scholz-Carlson
Stage Director
-
R. Keith Brumley
Scene Design
-
Jonathan Knipscher*
Costume Design
-
James Sale
Lighting Designer
-
Melanie Steele
Wig and Make-up Design
-
Cina Crisara
Chorus Master/Asst. Conductor
-
Samantha Greene*
Production Stage Manager
-
Stephen Sondheim
Music and Lyrics
-
Hugh Wheeler
Book
-
Christopher Bond
Adaptation
-
Harold Prince
Original Direction on Broadway
-
Jonathan Tunick
Orchestrations
-
Originally Produced on Broadway by
Richard Barr, Charles Woodward, Robert Fryer, Mary Lea Johnson, Martin Richards, in Association with Dean and Judy Manos
Notes
* Long Center Season debut
+Role debut
Synopsis
Prologue
Lights up on London in the nineteenth century. A shrill factory whistle is heard. The lights come up on the company in place. A man steps forward and invites the audience to attend the tale of Sweeney Todd. As the company begins to outline Sweeney’s dark tale, coordinated stage elements support the storytelling, hinting at the gruesome deeds yet to come (“The Ballad of Sweeney Todd”).
Act I
We find ourselves on the London docks. Anthony Hope, a young sailor, and Sweeney Todd, a saturnine man in his forties, enter. They both express their feelings about being back in London. Anthony is genuinely happy to be back in the city, but Todd’s response is full of grim irony (“No Place Like London”). While Todd thanks Anthony for saving his life at sea, a ragged, crazed Beggar Woman appears and begs for money. She thinks that she recognizes Sweeney, but he fends her off. Anthony inquires about Sweeney’s circumstances, worried that he has no place to go now that they are in London. Sweeney dismisses his offer of money. He tells Anthony that if he needs him, he can find him around Fleet Street.
Sweeney finds Mrs. Lovett’s Pie Shop and stands outside of the building, gazing at it. He enters and sees Mrs. Lovett chopping suet and flicking flies off of the trays of pies with a dirty rag. Excited to have a customer, she offers him a pie but recognizes that they are disgusting. She apologizes, times have been hard, and meat is hard to come by (“The Worst Pies in London”).
Sweeney asks why she doesn’t rent the room above her shop, if times are so tough. She replies that no one wants it because of the awful thing that happened there. Mrs. Lovett then recounts the fate of Benjamin Barker, a foolish young barber who was shipped to Australia by an evil judge. The Judge coveted the Barber’s pretty young wife, Lucy. Once the Judge and his Beadle had Barker removed, Lucy was left alone to care for her one-year-old daughter, Johanna. The Judge and Beadle invited her to a party at the Judge’s mansion, got her drunk and had their way with her in the midst of a masked ball (“Poor Thing”). When Sweeney Todd shouts in anguish at this news, Mrs. Lovett realizes that he is Benjamin Barker. Demanding to learn the fate of his family, Barker hears that his wife, Lucy, took arsenic, and that Judge Turpin adopted his daughter. Todd swears to take revenge on the Judge and the Beadle. Mrs. Lovett brings him his razors, which she has kept hidden away for all of these years. Todd is thrilled to be reunited with his razors, and Mrs. Lovett is thrilled to be reunited with Todd (“My Friends”).
The scene shifts to Judge Turpin’s mansion, where Johanna is imprisoned. She calls out to the caged birds of a passing bird seller, imploring them to share their secret for singing so sweetly when they, too, are kept captive (“Green Finch and Linnet Bird”). Anthony appears on the street, sees Johanna and instantly falls in love with her (“Ah, Miss”). Suddenly, the Beggar Woman appears and tells Anthony that he is standing in front of Judge Turpin’s house and should beware of trespassing. Anthony buys a bird for Johanna. He calls to her and presents the bird (“Johanna”). They stand, absorbed with one another, failing to notice the approach of Judge Turpin and the Beadle. The Judge orders Johanna into the house. The Beadle cautions Anthony to stay away and strangles the bird as a warning.
In St. Dunstan’s Marketplace, a painted caravan announces the presence of Signor Adolfo Pirelli and his baldness banishing miracle elixir. Tobias, Pirelli’s simple-minded assistant, beats a tin drum to attract a crowd (“Pirelli’s Miracle Elixir”). Todd and Mrs. Lovett are among them. Although the crowd responds to Tobias’ pitch, Todd and Mrs. Lovett begin a slander campaign against the elixir, and people demand their money back. Tobias tries to distract them, but to no avail. Pirelli arrives and silences the crowd, demanding to know who denies his excellence as a barber. Todd steps forward and challenges Pirelli to a shaving match. Todd gets the Beadle to judge the contest and, being of superior skill, wins easily (“The Contest”). The Beadle is very impressed and gets the address of Todd’s shop, promising to appear soon. When the Beadle thinks that he recognizes Todd, Mrs. Lovett assures him that this is not possible. The company explains how Sweeney methodically plotted his revenge (“The Ballad of Sweeney Todd”). After an encounter with the Beggar Woman, Mrs. Lovett climbs the stairs to Todd’s quarters, where he is waiting eagerly for the Beadle to appear. Mrs. Lovett tells him to be patient, as she plans the redecoration of his drab quarters with daisies and other homey touches (“Wait”). Despite her entreaties, Todd is also impatient for the Judge to visit. Anthony appears at Todd’s door and tells him of his encounter with Johanna, unaware that she is Sweeney’s daughter. He plans to steal Johanna and asks if he can bring her to Sweeney’s for safekeeping. Having secured Todd’s assistance, he leaves. Mrs. Lovett suggests that Sweeney kill Anthony and keep Johanna with him. She promises that she will be a splendid mother to Johanna.
Pirelli and Tobias appear. Mrs. Lovett takes Tobias downstairs for a meat pie. Pirelli reveals his real identity, that of Benjamin Barker’s former apprentice. He tries to blackmail Todd by threatening to reveal that Todd is really Barker. They struggle, and Todd renders Pirelli unconscious. Todd stuffs him into a chest when Tobias appears. Todd persuades the boy to go to the kitchen for more meat pies and some gin. Once Tobias has gone, Todd pulls Pirelli out of the chest and slashes his throat (“Pirelli’s Death”).
The company transitions to the next scene, remarking on Sweeney’s treatment of hypocrites (“The Ballad of Sweeney Todd”). Leaving court, the Judge announces to the Beadle his intention to marry Johanna. At the same time, Anthony proposes to Johanna (“Kiss Me”). As the Judge continues on his way home, the Beadle delicately suggests that Turpin pay more attention to his personal appearance to heighten his appeal to Johanna (“Ladies in Their Sensitivities”). Recalling Sweeney’s excellent work, the Beadle suggests to the judge that he make a visit to Sweeney’s shop.
At the pie shop, Mrs. Lovett discovers Pirelli’s fate. When Todd wants to kill Tobias, too, she protests. The Judge appears. Mrs. Lovett goes downstairs to distract Tobias. The Judge confides his marriage plans. Todd prepares to slit the judge’s throat but decides to take his time, savoring the moment before his anticipated revenge; meanwhile, the Judge anticipates his future with Johanna (“Pretty Women”). Just as Sweeney is about to kill the Judge, Anthony rushes in, blurting out the news of his planned elopement. The Judge leaves in a fury, announcing his intention to lock Johanna away and telling Todd that he will not be back. Enraged at losing the chance to kill the Judge, Sweeney throws Anthony out of the shop and announces his intention to kill everyone that he can to get ready for the inevitable destruction of the Judge (“Epiphany”). Mrs. Lovett reminds him that they have to dispose of Pirelli’s body. She has an inspiration: They can recycle his victims into meat pies. Sweeney sees the genius of this plan as they celebrate (“A Little Priest”).
Intermission
Act II
Thanks to her newfound prosperity, Mrs. Lovett has expanded her shop to include an outdoor eating garden. She now wears a fancy gown, and Tobias wears a waiter’s apron. Her shop is mobbed with customers who crave the new pies (“God, That’s Good!”). The Beggar Woman lurks around. An elaborate new barber chair is moved into Todd’s quarters. Todd and Mrs. Lovett set up a complicated system by which Todd sends his victims down a chute… directly into the bake house, where there is a grinding machine waiting. Mrs. Lovett runs out of pies. She puts up a “Sold Out” sign. A barbershop customer appears. She takes the sign down.
Anthony searches the streets for Johanna. At the same time, Todd dreams of his daughter and systematically kills the customers who sit in his chair. The Beggar Woman tries to warn passersby about the strange odors and smoke coming from Mrs. Lovett’s bake house. In the lunatic asylum where the Judge has placed her, Johanna dreams of the moment when Anthony will free her (“Johanna Act II Sequence”). When a man with a child enters the shop, Sweeney gives him a legitimate shave and allows him leaves.
Anthony hears Johanna’s voice and discovers that she is in the asylum. He tries to rescue her, but the Beadle stops him and tells the police to bash his head. Anthony escapes.
Mrs. Lovett sits in the parlor playing the harmonium. She fantasizes a married life with Todd on the seashore, but he is too fixated on his revenge plot to notice her (“By the Sea”). Anthony appears, asking Todd to help him free Johanna. Todd makes Anthony over as a wigmaker, knowing that the asylum will sell inmates’ hair to the highest bidder. He gives Anthony a gun and tells him to bring Johanna to the barbershop after the escape (“Wigmaker Sequence”). Then Todd writes to Judge Turpin, telling him that he can find Johanna and Anthony at the barbershop that evening (“The Letter”).
Mrs. Lovett sits with Tobias. As she knits him a muffler, they exchange words about their warm feelings for each other. He is devoted to her and promises that no one will harm her (“Not While I’m Around”). He suggests that something about Sweeney Todd is suspicious. When Mrs. Lovett pulls out Pirelli’s purse, he recognizes it. She says that Todd gave it to her, which only feeds Tobias’ doubts further. She invites Tobias into the bake house, where he is usually forbidden to go. He is delighted. Once there, she allows him to grind the meat for pies, and he forgets his concerns. She leaves him grinding and locks the door to the bake house. Returning upstairs, she finds the Beadle at the harmonium in her parlor (“Parlour Songs Part 1”). He has come in response to complaints about a foul smell from her chimney. She says that she can’t take him into the bake house until Mr. Todd comes home. He says that he’ll wait and continues playing the harmonium (“Parlor Songs Part II”).
Todd arrives. He takes the Beadle upstairs for a free shave before his inspection of the ovens. In the bake house, Tobias begins to suspect that the remains of humans are used for the pies… just as the Beadle’s body comes down the chute. He realizes that he is locked in and disappears down the cellar steps, whimpering. Mrs. Lovett tells Todd that Tobias suspects them. She wants Todd to dispense with Tobias at once, but Todd is focused on extracting his revenge from the Judge. Anthony comes to save Johanna at the asylum, but when the owner tries to stop him, he cannot bring himself to shoot. Johanna grabs the gun and kills the owner (“Fogg’s Asylum”). They escape. The lunatics are freed from the asylum and spill with euphoric excitement into the street (“City on Fire”). Mrs. Lovett and Todd look for Tobias. The Beggar Woman, suspicious of Mrs. Lovett, searches for the Beadle (“Searching I”).
Anthony and Johanna arrive at the barbershop. She wears a sailor suit. At Anthony’s insistence, Johanna stays behind as he leaves to hire a coach for their escape to Plymouth. The Beggar Woman appears. Johanna hides in a trunk. The Beggar Woman surveys the room; being there stimulates something within her. She cradles and begins singing to an imaginary infant (“Searching II”). Todd discovers her. She tries to warn him about Mrs. Lovett and wonders again if she knows him. He turns on her, slits her throat and releases her down the chute. The Judge enters. Sweeney pretends that Johanna is safely with Mrs. Lovett and is longing to be reunited with him. Todd convinces the Judge to have a shave to prepare for his meeting with Johanna. Sweeney reveals himself as Benjamin Barker and slits the Judge’s throat (“The Judge’s Return”).
Todd starts out of the room to deal with Tobias as Johanna emerges from the trunk. Mistaking her for a sailor because of her disguise, Todd tries to attack her, but she escapes. He runs to the bake house. Mrs. Lovett tries to kill the Judge, who is still clinging to life. She then notices the Beggar Woman. She frantically tries to drag the Beggar Woman to the oven. Todd sees the woman in the light and realizes that she is his wife, Lucy. He accuses Mrs. Lovett of deceiving him. She claims that she never told him that Lucy died, only that she took poison (“Final Scene Part I”). She tries to stem his anger, and he feigns forgiveness by waltzing with her. He waltzes her to the oven and shoves her in, then cradling the Beggar Woman in his arms (“Final Scene Part II”). Tobias appears, his hair now completely white from shock. He kills Sweeney with the razor, which has fallen on the floor. Constables, Anthony and Johanna appear. Tobias has lost his mind; he cannot stop turning the handle on the grinder.
Epilogue
The company reenters and claim to see the Sweeney in each of us. At the end, Sweeney glares at the audience malevolently before slamming the iron door (“The Ballad of Sweeney Todd”).
Synopsis courtesy of Music Theatre International
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Mela Dailey Interview
You do love me just a little bit, don’t you?
Mela Dailey started off singing jazz at Booker T. Washington High School for the Performing and Visual Arts in Dallas (being accompanied by a piano student called Norah Jones). She began college singing musical theater, and ended it singing opera. She went on to sing all three around the world and rack up a Grammy and eight Grammy nominations with choral ensemble, Conspirare. In 2018, Mela’s company, Merick Strategies, staged Leonard Bernstein’s MASS: A Theatre Piece for Singers, Players, and Dancers, the largest performing arts collaboration in Austin’s history, which led to her founding the Austin Artists Project to give back to upcoming artists and supporting underserved creative communities.
Given your musical training, where does your heart really lie?
I love the diversity that opera offers me. In musical theatre it’s not unusual for singers to perform ten thousand performances of the same song eight times a week. But that’s not for me, my heart needs a regular switch.
When I swapped majors, I discovered how much I loved the athleticism of singing opera and classical music. You can’t rely on a microphone, so you really have to hone your craft. It’s like walking the high wire at times, and that was very appealing. And frankly, I love the glamour of it.
There’s also so much to discover, from a character standpoint. I came to opera in a roundabout fashion, so my first connection with any piece is through the character. There are some opera singers—we affectionately call them Park-and-Barks—who will sing the music beautifully, but they’re not living the role. For me, though, I love the character first and then the music is a vehicle to communicate the text.
And that character-driven approach is crucial in Sweeney Todd, isn’t it?
Absolutely! Mrs. Lovett is a character I love so much. She’s fascinating. Really, Sweeney Todd as a show is unbelievable. I keep finding more and more in it. To hear Sondheim speaking about Mrs. Lovett’s opening aria, or song, it’s clear he’s so damn smart. He knew exactly the way that he wanted it to go, writing every possible action and sound into the score. He’s written her character into every beat. Each look or grunt she makes is dictated, and even written as a stage direction. “On this grunt, you’re gonna look over here. And then you’re gonna slam the knife down here.” It’s so complicated, it makes you want to pull your hair out. But you keep working on it until it’s all deep within your body, and then you love it.
For a show like this, I rehearse a lot on my own, so that I know it inside and out. That gives me more flexibility when I meet my colleagues, because then I can be “in the moment.” The piece is so ingrained in my body and my soul, from then on, I just get to play.
I’ve seen Mrs. Lovett portrayed like an airhead, or very hard, but I think she’s a survivor. She’s tremendously lonely, and what matters most to her would be having a family. When she meets Sweeney again, she suddenly sees the thing that she’s wanted most for her whole life as a possibility. She’s a widow and she’s had to make it through the hardest of times with nothing. Then, here comes this man that she was in love with from afar, who is now paying attention to her. And before she knows it, she has adopted a son and is almost a wife, and she has all the things she cares about most. So, when circumstances threaten all that, perhaps some of her decisions are quite justifiable.
Throughout all that happens, Mrs. Lovett is thinking, how do I keep my little family together? For me, that’s all she’s thinking about. Suddenly, everyone is a threat to her family. I feel so protective of her, and the most heart-wrenching line in the entire piece for me is when she kisses Sweeney and says, “You do love me just a little bit, don’t you?” She knows he doesn’t really love her, but she’s hoping he’ll acknowledge he feels a little something for her, because frankly, she’d be grateful for the scraps. They’re all she’s ever been given.
Beyond the stage, you have another career dedicated to developing other artists. How do you ever have time?
If I had a job where I had to clock in nine to five, it would feel like torture, but I love doing these things so much, so it doesn’t feel like I’m working ridiculous hours because they are so interesting and rewarding.
I started producing when I realized that what makes my experience better or worse for any given show has to do with who’s been hired, and who I’m spending time with. And you don’t get a seat at that table to make any of those decisions unless you are finding ways to fund the production. I really enjoy raising money, but only for things that I feel are important in the world. I would never be someone who just showed up to raise money, but boy, do I love it when I care about the piece or the company!
The Austin Artists Project came right after I produced the Bernstein Mass here in Austin. What a joy-filled experience that was! I love collaboration, so seeing all those different groups coming together for one common cause was the kind of stuff that makes my life meaningful. After that, and after having ten meetings a day and working with different arts groups in colleges and high schools, I was concerned because I did not see equity. I would try to bring on artists to a school project, and I was told that they couldn’t be a part of it because they because their training had been so lacking. I could see all these internships that were unpaid, and it takes privilege to be able to use that opportunity. I was clearly being shown that nothing’s ever going to change without paid opportunities. And if things never change and the same people are given all the opportunities, we have a huge problem with the education pipeline.
It became apparent that we needed to start a nonprofit, so we did, just as the pandemic started. In one day, I got 28 emails that all said force majeure in the subject line. I had the privilege of a husband with a salary, but many colleagues did not, so I started by singing out on my lawn for Facebook donations. From there, it grew to seventeen different lawn concerts, and we got realtors to underwrite them. We would perform at their properties, and we had a waiting list of people wanting to come to these concerts. We raised hundreds of thousands of dollars for grants to artists. It was so much fun, such a joy.
From there, we created an education pipeline. We’ve started with the Ann Richards School, and we pay professionals musicians $100 an hour to teach every single choir, band, and orchestra student, and it’s creating a whole new way for professional musicians to be able to afford to live here. And I love that it’s an all-girls public school, because giving girls and women more opportunities is an important part of our mission. Austin ISD has cut their arts funding this year in half, and we don’t care if any of them become music professionals or not. That’s not what this is about. This is about investing in students, because it changes them and the way they think about themselves. It tells them they are worthy of our time and resources.
We’re now expanding the program into new schools because this model is so successful. Just one $100 donation sends a professional artist into school for an hour to give a child a lesson.
After all, can Austin be the live music capital without funding and investment of this sort in the arts community?
Find Mela Dailey at www.meladailey.com/ and Austin Artists Project at www.austinartistsproject.org