Sweeney Todd: The Demon Barber of Fleet Street in Concert (2001)

it is the rare 'crazy' movie that actually has something to say.

It’s fine. It's literally the definition of a fine movie. You’ve seen it before, you know every beat and outcome before the characters even do. Only question is how much escapism you’re looking for.

This movie feels like it was made purely to piss off people who want good shows

It's simply great fun, a winsome film and an occasionally over-the-top luxury fantasy that never flags.

I have seen 3 versions of Sweeney Todd: the 2007 movie by Tim Burton, the 1979 version with Angie Lansbury, and this. I became a fan of Sweeney after seeing the wonderfully amazing 2007 version (I WILL review that), and this was the 2nd Sweeney I've seen, and I've never been disappointed yet except for the atrocious camera work in the 1979 version.Now you guys already know the plot, so I won't give anything away. But anyways, here's my breakdown of some of the cast: GEORGE HEARN as SWEENEY TODD: Awesome!!!!! He was much better than Johnny Depp... and Depp's my favorite actor (Depp did an amazing job in the movie though, keep in mind). I couldn't believe my eyes and ears. His singing is perfect, and so is his acting! PATTI LuPONE as LANDLADY MRS. LOVETT: The best Mrs. Lovett I've seen. She did an amazing job. Throughout she kept me captivated, and I loved it.NEIL PATRICK HARRIS as TOBEY RAGG: Good performance, especially in "Not While I'm around".DAVIS GAINES as ANTHONY: Great performance! Especially when he sings "I have sailed the world and seen its wonders...", that's when you know he's awesome from the beginning.VICTORIA CLARK as the BEGGAR: Great!!!!! I felt like they actually used an actual beggar for her role.I will leave the rest for you to see, but I was amazed by this Sweeney adaptation. Watch it!

For those who may have missed it on Broadway or the filming with most of the original Broadway cast, this film of the 2001 concert version performed with the San Francisco Symphony Orchestra is equally as exciting. Director Lonny Price has assembled a first-rate cast for this concert version of the 1979 Gothic musical about the relationship between a demented barber hellbent on vengeance and the slightly daffy but lovable owner of a meat pie shop who falls in love with him. This version is almost more riveting because, as a concert version, with limited sets, costumes, and props, the audience is allowed to focus where their focus should be...on Stephen Sondheim's frighteningly beautiful musical score, flawlessly sung by a rock-solid cast backed by a first rate orchestra. Tony winner Patti Lupone puts her own spin on Mrs. Lovett, the pie maker originated on Broadway by Angela Lansbury. Lupone is careful to never mimic Lansbury and because she is technically a better vocalist than Lansbury, gives the musical portion of her performance so much more meat than Lansbury did. George Hearn, who followed original Sweeney Len Cariou on Broadway again proves to be the ultimate interpreter of this role in another powerhouse rendering of this richly complex role, which at times is downright bone-chilling, particularly in his rendering of "Epiphany" one of the most powerful pieces of music ever written. Timothy Nolen's brilliant interpretation of the evil Judge Turpin is a standout, including his rendition of "Johanna"...a song that was cut from the original Broadway production. Davis Gaines makes a strong Anthony and works well with Lisa Vroman, who is the loveliest Johanna I ever seen, offering a flawless rendition of "Green Finch and Linnet Bird". Victoria Clark is outstanding as the Beggar Woman and TV's Neil Patrick Harris makes a surprisingly devastating Toby. A once in a lifetime concert experience that will stay with you.

I love Sweeney Todd, but I did not love this concert version. I did not care for Patti LuPone and I really abhorred the way it was taped. During the Judge's Song (Johanna), the camera kept panning back and forth from Johanna to the Judge. Towards the middle of the song, there were brief and idiotic shots of Johanna's chest, hands, and face that were timed with crescendi in the music. Cornball! It took away a lot from Timothy Nolen's wonderful performance because the viewer becomes too aware of the camera. The director is saying: "Look at how the camera moves! Aren't I ever so clever?" Aside from that, I did enjoy the extras on the DVD: a short documentary on the genesis and making of the concert versions of Sweeney Todd, plus interviews with Sondheim, George Hearn, Timothy Nolen, Victoria Clarke, Lisa Vroman, Neil Patrick Harris, Patti LuPone (blech) and unfortunately, the execrable Lonny Price (good stage direction; bad TV direction). If you love Sweeney Todd, you'll want to see this no matter how badly the camera is directed.

You either love Sondheim or you hate him (although few of the arguments for hating him hold water, In My Anything But Humble Opinion). Certainly his darkest work and arguably his best, Sweeney Todd is an exploration of the depths to which a man will sink to wreak vengeance on those who have wronged him.With all respect to Len Cariou, who created the role in the original production, George Hearn is and always will be the definitive Sweeney Todd. There are things he does that I don't even think he's consciously aware of anymore, but are absolutely chilling to watch. Patti Lupone has the thankless task of trying to follow the immortal Angela Lansbury as Mrs. Lovett; she carries it off by making almost completely different dramatic choices and playing her strengths (like Meryl Streep, she's got one of the best deadpans in the business, and lines that Lansbury played for laughs, Lupone plays straight--we still laugh, but for different reasons). The rest of the cast acquit themselves beautifully, particularly Davis Gaines as the lovestruck Anthony Hope and Victoria Clark as the crazed Beggar Woman.But the real surprise of the cast is Neil Patrick Harris as the innocent, waiflike Tobias Ragg. Having played the part myself, I have a bad habit of holding other actors to impossible standards--and Harris not only meets them, he flattens them. Instead of watching him and thinking, "I could have done that," I found myself watching him and saying "I wish I'd done that"--something I've never been able to say in any other production.The score is as close to grand opera as Sondheim gets, and the gems--"A Little Priest", "Not While I'm Around", "Johanna", "Wait," and the act II quartet sparkle as brightly as I've ever heard them.Grade A.