Perhaps there is no showstopper in all of Sondheim (or of any Broadway musical) that can match the duet between Mrs Lovett and Sweeney that ends Act I, when she devises a plan (sung in waltz time) for the barber Todd to slit the throats of London’s miscreants, and for Mrs Lovett to put their bodies through a meat grinder (three times) and bake them into her meat pies.
The subject matter, of course, which could prove too much for audiences that comfortably embrace the psychotic behavior in such operatic fare as Richard Strauss’ “Salome” or the disregard for human life of Puccini’s Princess Turandot, is treated with outrageous humor. Harboring a decades-old affection for Todd (née Barker), she transforms the plot from the straight up revenge drama that motivates much of the verismo genre to an amalgamation of vigilante justice and fashionably trendy cannibalism. It is the character of Mrs Lovett that drives the action into bizarre directions. E. The Cockney Mrs Lovett makes and sells pies, but they suffer ( The Worst Pies in London) from the unaffordability of ingredients in London’s East End at this point of time in the 1870s. The prima donna in “Sweeney Todd” is Mrs Lovett, played by the British Wagnerian soprano Susan Bullock O. (Those in San Francisco who might wonder why Nathan Gunn is not performing the role there when this production arrives this September, should note that he is engaged in the rehearsal periods and full runs of two important world premiere operas – Higdon’s “Cold Mountain” on August 1st in Santa Fe, whose lead role was created for him, and Heggie’s “Great Scott”, opening October 30 at The Dallas Opera.) The Houston Grand Opera was fortunate to have secured American baritone Nathan Gunn for the title role, whose secure vocalism, winsome acting (and superstar status) helped assure that this production would prove a momentous hit. The Houston Grand Opera chose to mount the American premiere of the fourth production,”Sweeney Todd”, which in September with a completely different cast, travels also to the San Francisco Opera for the opening night weekend of San Francisco’s 2015-16 season. A foursome of Sondheim productions – which included “Into the Woods”, “Sunday in the Park with George” and “A Little Night Music” – were conceived by Scottish director Lee Blakeley. Over the past half decade Parisian opera audiences have taken to heart the dramatic musical works of American composer Stephen Sondheim, presented at the Théâtre du Châtelet.
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