Sondheim's 'Sweeney Todd' - The Case for the Defence

8/11/2019 Sondheim's 'Sweeney Todd' - The Case for the Defence

1/9

Sondheim's 'Sweeney Todd': The Case for the DefenceAuthor(s): Carey BlytonSource: Tempo, New Series, No. 149 (Jun., 1984), pp. 19-26Published by: Cambridge University PressStable URL: http://www.jstor.org/stable/945080.

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2/9

SONDHEIM'S

'SWEENEY

TODD'

The

Case

for the

Defence

CareyBlyton

As

BOTH LYRICIST

AND

COMPOSER,

Stephen

Sondheim

has

proved

to be the

most

original

and innovative

force on

Broadway

since

the late

I950's,

when

he

first

attracted attention

as

the

lyricist

for some

of

the

songs

in Leonard Bernstein's West

Side

Story

(1957),

including

'Maria' and

'Tonight'.

Few

composers

for the

musical

stage

have

such a record

of success

as

Sondheim.

In addition to these

lyrics

for

Bernstein,

he

also wrote all

the

lyrics

forJule

Styne's Gypsy

(1959);

then,

as

composer

as well as

lyricist,

he wrote a number of musicals over the next two decades:A

Funny

Thing Happened

on the

Way

to the Forum

(1962),

Anyone

Can Whistle

(1964),

Company

(1970),

Follies

(197I),

A Little

Night

Music

(I973),

Pacific

Overtures

(1976),

Sweeney

Todd

(1979),

and

Merrily

We

Roll

Along

(198I).

From

Anyone

Can

Whistle

onwards,

Sondheim

has

pushed

the

frontiers

of the

Broadway

musical

further and further

outwards,

exploring

harmonically

and

structurally

in a series of

highly

original

works,

of which

Sweeney

Todd

is the most

remarkable.

After

its

opening

in New

York,

many

of the audience considered

the

work to

be an

opera,

not a musical.

Sondheim

himself had said beforehand:

'I had

wanted to write a ballad opera, and here it is, with 26 numbers'. Harold Prince, the

producer

with

whom

Sondheim

has worked

fruitfully

for

the

past

14

years,

had

referred

to the work as 'music theatre'.

The

printed programme

called

the

piece

a

'musical

thriller'. After detailed

study,

perhaps

all one can

say

is that

is

is not

a musical

in

the

generally

accepted

meaning

of

the

word,

i.e.

a

Broadway

'show'.

The work

is based on

a

play

by

the British

playwright Christopher

Bond,

adapted

by

Hugh

Wheeler.

Between

them,

they

made

a

powerful

and dramatic

story

out

of what had hitherto

been,

in

numerous

previous

versions,

no more than

a

Grand

Guignol

melodrama

with cardboard characters.

Sweeney

Todd is

given

a

strong

reason for

his

appalling

anti-social activities:

revenge.

Transported

for life

by

a

wily

and devious Judge Turpin, who lusts after Todd's beautiful young wife Lucy, he

manages

to

escape

from down-under and

returns

swearing vengeance

for

all his

wrongs

at the hands of the

judge

and his

obsequious

beadle,

Bamford.

Todd takes

up

residence

once more

in

the

barbershop

above Mrs. Lovett's

pie-shop

in

Fleet

Street.

Mrs.

Lovett,

a widow who

still

remembers the

'beautiful

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3/9

TEMPO

barber'

with

more

than

a little

affection,

does not

recognize

Todd at

first,

but

when

she

does

so,

she tells

him

that

his

wife,

Lucy,

is

dead,

and that

his

beautiful

young

daughter, Johanna, is now living with Judge Turpin as his ward. The Judge has

developed

an

all-consuming

lust for the

daughter.

Romantic interest

is

provided

by

a

young

sailor,

Anthony,

who

has saved Todd from

drowning

when their

ship

was

wrecked

on its

return to

England

from Australia. Todd's

plan

is

quite

simple:

he

intends

to

kill

theJudge

and

the

Beadle for the

wrongs

they

have

done

to

him

and

his

family.

But because

things

do

not

go

according

to

plan straightaway,

Todd

is

forced

to

practise

on 'less

honourable throats'. . . and his

desire

for

revenge

and

his

madness

grow.

So the

story

is

simple

and

powerful,

with

excellent

dramatic

shape,

and

many

opportunities

for a

composer

to

write

very many

different kinds of music:

Sondheim

rises without fail to each challengeof the libretto, and, as one writer put it: ' "Sweeny

Todd" rushes

hell-bent

through mounting

dissonances

to a

shattering

finish.'1

As

the work

begins,

with

its

harshly

dissonant music

'played'

on

stage

by

a small

pipe

organ

(though actually

in

the

pit by

a

Hammond

organ),

and

as

Sweeney

Todd

makes

an

unnerving

and sudden

appearance

from out of

his

own

open grave,

we

know we are not

in

for some

cosy

family

entertainment

along

the

lines

of

The

King

and

I or The

Sound

of

Music. The chorus

sings

the violent and

harmonically

disorientated

'Ballad of

Sweeney

Todd'

(whose

second half

is

based

on the 'Dies

Irae'),

and then the

events

of Todd's dark

and sinister life are re-enacted

before

our

eyes

(and

ears).

The

work's

uncompromising

drama,

which deals with

the

less attractive

aspects

of the

human psyche-deceit, lust, violence, murder, etc.-places it unequivocally in the

same

area

as

the

Brecht/Weill

collaborations like

Mahagonny

and

The

Seven

Deadly

Sins.

Virtually

all the

apparently conflicting descriptions-ballad opera, opera,

music

theatre-seem

justified:

there

are

very

few lines of the libretto which are

not

sung

or

spoken

over musical

accompaniment.

Those

lines which

are

spoken

without

any

music,

like Mrs.

Lovett's

hoarse,

whispered:

'So it is

you,

Benjamin

Barker ',

when

she

finally recognizes

Todd,

are

electrifyingly

effective-Sondheim

clearly

knows the

dramatic

effectiveness of silence. The

chorus

is used

both

in

the normal 'musical'

manner

(here,

as London

townspeople)

and-a

purely operatic

device-as

a

Greek

chorus,

commenting

on

the action at

intervals

throughout

the work: the

all-important

'Ballad of

Sweeney

Todd'

occurs,

either

in

full or

in

part,

seven

times,

with

differing

words: its

first

appearance

gives

the whole tenor of the

ensuing

work: 'Attend the

tale

of

Sweeney

Todd/His

skin was

pale

and

his

eye

was

odd/He

shaved

the faces

of

gentlemen/Who

never

thereafter were heard

of

again'.

From

a

purely

musical

point

of

view,

the

most

interesting thing

about

Sweeney

Todd

s

that Sondheim reveals in it that

he

is

very

much aware of what has been

going

on

in

'serious' music

since

the turn

of

the

century.

His harmonic

language

is

frequently

highly

dissonant,

and

many

passages

show

clearly

identifiable

models.

The

handling of the choral lines (for three tenors), in the 3rd statement of'The Ballad of

Sweeney

Todd',

is

very

reminiscent

of

the

writing

for male voices

in 'The

Family'

sections of Weill's

The

Seven

Deadly

Sins.

Other

parts

remind

one

of

Britten's

vocal

writing

in

early

works like Let's Make an

Opera.

Orchestral

passages

owe a debt here

and there to

such

diverse

composers

as

Stravinsky

('No

Place like

London',

b.256

et

seq.),

Bliss

('Green

Finch

and

Linnet

Bird'-especially

bb.

50-54),

and

Sousa

(the

piccolo counterpoints

in

'Pirelli's Miracle

Elixir'),

to name

just

a few.

1

TV

Times,

31

July

1980.

20



4/9

'SWEENEY TODD'

However,

like all

good composers,

Sondheim

has taken

what

he

requires

for

his

own

expressive

ends

from

the

sound-worlds

of other

composers,

and

adapted

them

in

such

a

way

that

they

end

up

as

sounding highly original:

echt-Sondheim,

in fact.

Any

hint

of

plagiarism

is

finally dispelled

by

Jonathan

Tunick's

always

effective

and

imaginative

orchestrations,

arrived at after

consultation with the

composer.

These use

a

28-piece

orchestra

comprising

I.I.

I.I.

(with

the

usual

doublings)-

I.2.3.o-Perc.-Harp-Organ--4.4.2.2.I,

an

ensemble

giving

an infinite

variety

of

timbres

and

orchestral

'weights'.

The libretto

afforded

Sondheim

a

number of

opportunities

for

pastiche,

which

he

seized

to

great

effect.

(He

had

already

shown

a

real

flair for

pastiche

in

previous

works,

c.f.

the

brilliant G

&

S

'patter song',

sung

by

the British

Admiral,

in

Pacific

Overtures.)

The

'Parlor

Songs',

sung by

Beadle

Bamford,

accompanying

himself

on the

harmonium, are amusing copies of'ye olde Englishe ballad', and the I8th-century

minuet

in 'Poor

Thing'

is

effective,

despite

its

brevity.

The

musical

digs

at Verdi

and

Puccini

in

'Pirelli's

Miracle

Elixir',

a virtuoso

song

for a

very high

Italian

tenor,

are

both clever

and

witty.

These

pastiches give

further evidence

of

Sondheim's

awareness

of

music

outside that

of

the

Broadway

musical

and its traditions.

Perhaps

of the

greatest

interest to musicians

is the actual harmonic

language

that

Sondheim

employs

at certain

times,

often

harshly

dissonant, and,

at

times,

clearly

bitonal.

Ex.

I,

taken

from

'The Ballad

of

Sweeney

Todd'

(first

statement),

shows how

Sondheim

achieves

the musical

equivalent

of Todd's cut-throat

razor about

its

grisly

business

'floating

across

the throats

of

hypocrites':

Ex.

I

Ad

Lh

3

nJr

slJ

ie

d

ntrM

1

And what if none of their

souls

were

saved?

They

went

to their

Mak- r im

-

pec-ca-bly

shavedd

(

*

^-

-

E

qv

I

I

.)

VLS

r

T

r

r~

I

7r

rr rr

r

rrrr-

r

r

-r

fr

%47-

'

._L--

4

Ps

4

'~

Ex.

2,

from

the same

song,

is a

good example

of some of the

choral

writing,

which would

no

doubt

stump many

a chorus

singer

in

a

repertoire

musical,

while

Ex.

3

is

an

example

of

bitonality resulting

in a

texture-and

an

emotional

impact-reminiscent

of

parts

of

Berg's

Wozzeck.

Sondheim's

vocal

writing

is

wonderfully

fluid,

the

underlaying

following

the

stresses

and internal

rhythms

of the words

very

closely.

A

good example

(Ex.

4)

comes from

'No

Place

like

London',

where the metre

changes restlessly:

21



5/9

TEMPO

Ex.

2

(J.

=c120)

1

f

'~"

k

130

f,-

1

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1: 4

S.

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|Swee

-

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Swee

-

ney

Swee

-

B.

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P

*

f

f

|

f'

|

ff;'

f

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ff

ft-

f

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>

>> >>>

>>

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W.W.,

Tpts.

>-

Ss.

Hn.,Vlns.,Vlas.

Tpts.|

j:t

__

+

Organ

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s

t

A.

~

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I

-

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ney

iB..y

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T--

-

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if

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,

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III

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Bsn. lc.(pizz.)

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IF

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(Strs.)

>

;

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Ex.

3

Strs.

Organ

Xylo.

Tpts.

Hn.

Presto

(=

11-2).

Tpts.

^

^^^^^^^^(^^1^_^

Hn.)

'

V

'

I

L-

,

_

W

f

6

L.

t

,

L

,

L_ .

L

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k

,

L._

.

L

f

Organ

Ped.

Ex. 4

F2151

SWEENEY

TODD

6

Meno

mosso,^

mp

t4^^c?~1

Ii-uT-]

IIjI

.

i

IL?8

-W

;

There was a

bar-ber and his

wife,

And she was

beau-

ti-ful,_

20

'-

ih

b

r

ad

hs

wif,

e wshs

ren

ad

If

fool-ish

bar-ber and his

wife,

She was his

rea-son

and his

life,

22

Tb.?

.(-R)

,

p

,

VcI

rF

af

I

r

V

I

m)fP

6J

-

b

J

6

a)

>

>

-I,



6/9

'SWEENEY TODD'

23

B^

1

.

KJ?

g .

I$r

r

F,i?

.

6-

P

1t

And

she

was

beau-ti-ful,_

And she

was vir

-

tu-ous,_

J

2251J

And he

was

na- ive.

Similar

examples

of

constantly shifting

metres occur

it

many songs,

most

notably

in

Mrs. Lovett's 'Worst

Pies in

London',

where the dislocations in the

metre

give

emphasis

to her

attempts

to

swat

and

thump

the

flies

that

plague

her as

she kneads

dough:

4/4 2/4

4/4

3/4 5/4

3/4

4/4

3/4

5/4 3/4

5/4 4/4

etc.

We

are a

long

way away

from the sound

of hills alive with music.

Occasionally,

the American roots of

Sondheim's

music

become

apparent

in

the

syncopations

in

such

songs

as

Anthony's

'Ah,

Miss'

(note

the

rhythm

of

the

Charleston

in

the

accompaniment):

Ex.

5

a

tempo

Look

at me ook at me

miss,

oh

look

at me

please

oh,

Fa vor

me

fa

-

vor me

with

your

pa

tempo

l)^-

t^

C^r- f

f

A f_

glance.

Ah,

miss,

6$

8

J-

r

r

I

As

his own

lyricist,

Sondheim

is

able to

arrive at the

precise

words he

requires

to

marry

to the music he

has in

mind,

and we

are

constantly

reminded

of his

brilliant

way

with words

by

many

felicitous

and

witty

lines.

Perhaps

the

most

outstanding,

among

many

excellent

songs,

is 'A

Little

Priest',

the

marvellously

black

ending

to Act

I,

where

Mrs. Lovett is

tempting

Sweeney

Todd to

sample

different

pies,

each flavoured

by

a different

profession:

TODD

Anything

that's lean.

MRS. LOVETT

Well, then,

if

you're

British and

loyal,

You

might enjoy Royal

Marine.

(TODD

makes

a

face)

Anyway,

it's

clean

Though,

of

course,

it

tastes

of

wherever it's been.

And later:

MRS.

LOVETT

Since

marine doesn't

appeal

to

you,

how

about rear admiral?

TODD

Too

Salty.

I

prefer general.

MRS.

LOVETT

With or without his

privates?

'With'

is

extra.

TODD

chortles)



7/9

TEMPO

If

anything

gives

full

weight

to

the

description

of

the work as an

opera,

it is

the

way

in

which the

music is

unified and

given

dramatic

cohesion

from

song

to

song,

and

from act to

act,

by

a host of

technical means:

(I)

canon

(2)

the

derivation

of

accompanimental

figures

in

one

song

from

the

music of

another

(3)

the

interjection

of

previously

heard

music into

the

on-going,

foreground

music

(4)

the use of

orchestral

solos,

derived from

previously

heard

songs,

in

the

accompaniment

of other

songs

(the

possibilities

for

irony

here

are not

missed)

(5)

the use of the 'Dies

Irae'

(within

'The Ballad of

Sweeney

Todd')

in various

guises throughout

the whole work

(6)

the use of

previously

heard music with new

words,

sung

either

by

the

same

character,

or

by

a

different one

(7)

the use

of

pregnant

melodic/harmonic

fragments

or

motifs,

which occur

at

salient

points

in

the drama

(with

all their associations

from

previous

occasions)

(8)

polyphonic

ensembles for

the main

protagonists,

in a

truly

operatic

fashion,

the

voices

singing

simultaneously fragments

of

music

they

had

sung

previously

(9)

the use of the chimes of

Big

Ben

(the

'London

Connection')

throughout

the

work, in various (and sometimes highly dissonant) harmonizations

(Io)

the use of an

ear-piercing

factory

whistle

at

the

point

of most

(but

not

all)

the

murders: this was an

idea of the

producer,

Harold

Prince,

and the use

of this

at the start of the work is

one

of

the

most

genuinely shocking

moments

in

the theatre

All

in

all,

the work is so

tightly

knit and

unified,

both

musically

and

dramatically,

and

examples

of the above

technical means are so

numerous,

that it would be

impossible,

within the

scope

of

a

short

article,

to

list

them all.

However,

a few

examples

may

give

some idea of the hand

of

a

master craftsman of

the

theatre

at work.

When

Anthony

asks

the

Beggar

Woman

who the

young

woman is

that

lives

in

Judge Turpin's house, we hear, as an oboe solo marked triste,a minor variant of

Johanna's

song,

'Green

Finch and Linnet

Bird'.

During

Judge

Turpin's

song,

'Mea

Culpa'-a

truly

horrendous

musical

representation

of an

old

man's

lust for a

young

woman-we hear the minuet

again.

This

first

appeared during

Mrs. Lovett's account

of

Judge

Turpin's rape

of

Todd's

young

wife,

Lucy,

at the

masked

ball,

just

after Mrs. Lovett

had

recognized

the

'stranger'

(Todd).

('Of

course

when

she

goes

there,

poor thing, poor

thing/They're

having

this ball all

in

masks').

The minuet is in fact a clue to the

Beggar

Woman's

identity,

being

the tune

of

her

raunchy

song

in

the

opening

scene,

when she

offers

herself for

money

to Todd and

Anthony.

Sweeney

Todd's

'My

Friends',

sung

to his cut-throat razors

nestling

in their

velvet-lined

box,

which Mrs.

Lovett

has

kept

from

the old

days-possibly

the

most

chilling

'love

song'

ever written-is

heard

again during

the

duet

between

Sweeney

Todd and

Judge Turpin, 'Pretty

Women'.

The main motif of

'My

Friends'

is an

inversion of the

figure

that

accompanies

'The Ballad of

Sweeney

Todd',

and

in

this

song,

Todd's

promise

to his

'friends'

('Friends,

you

shall

drip

rubies.

You'll soon

drip

precious

rubies')

seems

near

to fulfilment.

During

this

same

song,

Todd

hums a

variant

of the Beadle's

song,

'Ladies

n

Their

Sensitivities',

which he

picks

up

from the

24



8/9

'SWEENEY TODD'

Judge

as

he

prepares

to shave

him,

while

a

derivative

of

this same

song

is heard

in

the

accompaniment

as a

triplet

figure

in

the woodwind.

Johanna's

music from

'He

means

to marry me on Monday' also makes a fleeting appearance.

The now famous

'Epiphany',

sung by

Todd,

contains

many

references

to

previously

heard material: Mrs. Lovett's

'Wait',

Todd's own 'There's a hole

in

the

world like a

great

black

pit',

and

the 'Dies

Irae',

among

others.

This

song

also

has

the

Ivesian effect of a full orchestral

tutti

suddenly

stopping

to leave

a

'foreign'

harmony,

pianissimo,

held on

by

the

high

strings

(cf

Ives's

Decoration

Day).

The

following

two

melodic/harmonic

motifs are also

important,

and

occur at

various

times

throughout

the

work

(Exx.

6

and

7):

Ex.6

Ex.

7

(Sweeney

Todd's 'madness

motif,

heard whenever he

is

either

brooding

or

murderously

inclined.

It is also

the

melodic and harmonic basis of

such

passages

as

the

conspiracy

during

'God,

That's

Good ')

Act

II is shorter than

Act

I

(8

numbers

compared

to

I8):

it is

also denser and

more

musically

unified

than

Act

I,

with

many

fragments

from

previously

heard music

making fleeting appearances, frequently

in

contrapuntal

combinations with

themselves,

or with

new material.

Perhaps

the

most

interesting-and

the most

'contemporary'-is

the 'Final

Scene',

where Mrs. Lovett

sings,

with

new

words,

music

from

her Act

I

song,

'Poor

Thing', against Sweeney

Todd's

slow-moving

lament,

sung

after he realizes

that the

'Beggar Woman'

he

has

just

killed

is in

fact

Lucy,

his

wife,

whom he

thought

had died

long ago.

(The

lament

is

in

fact

derived

from the

'Epiphany';

its

original genesis

going

right

back to the

Beggar

Woman's

motif when

she

asks

tor

'Alms ' at the

beginning

of the

work.)

(Ex. 8)-there

are shades

here,

perhaps,

of

Britten's

Church

Parables,

with

the

pitting together

of

different

tempi.

Ex.8

A

(Largo

(J=

40))

MRS. LOVETT

(No,

no,

not)

lied

at

all..

No,

I ne-

ver

lied. Said

she

took

the

poi

A~l

v.

i~~~~~i wSWEENEY

ODD

Lu

-

cy...

I(8)J-7

L;J

JT

-a

j

J

i

-son,

she

did,

Ne

-

ver said that she

died.

Poor

thing.

l

:~(,

)-

.o,I've

cme

've come

25



9/9

26

TEMPO

IP4(R)v

I

she lived but it left

her weak in the head. All

she did

for

months was

just

lie

there

in

bed.

IAAw

.

.1.

-

-.

I

home

a

gain.

2W%

J

-tl-

*18

\r

J

m

J1lhl'Rli .

Shouldve

been in

hos-pi

-

tal,

wound

up

in Bed-lam

in-stead.

Poor

thing.

Bet-ter

you

should

|^,[~bl2.

--

c

O.

n.

-

-#.

Lu

-

cy

Oh,

my

(God )

Sweeney Toddran for only about five months in its London production at the

Theatre

Royal,

Drury

Lane.

A

number of reasons have been

given

for this:

it

was

too

'English'

a

story

for the

English

to

accept

from

Americans;

the

story

was

simply

too

grisly

for

comfort;

there were not

enough

'hummable tunes'

in the

piece.

Perhaps

the

reason

is

simpler

and,

paradoxically,

not obvious: it was heard

by

the

wrong

audience.

The work

is

an

opera,

and,

as

such,

it did

extraordinarily

well

to

run

as

long

as it

did-most

operas

have to

be content

with

just

a

few

performances

in

any

one season

(and

few new ones

get

revived).

Because

it is an

opera,

and

a

very powerful

and 'difficult' one

at

that,

it

needs

to be

presented by

an

opera company

like

the

English

National

Opera

or the

Welsh

National

Opera. Opera

audiences are

clearly

prepared

to

accept

much

'tougher'

stories

for musical

treatments

than

those which

normally

support

musicals: one

only

has

to think of

Salome and

Wozzeck

to

realize

this. A

really good production

of

Sweeney

Todd

by

a

professional opera company

would

give

the

work

the chance

in

England

that

it

clearly

deserves.

Sweeney

Todd is available

as

follows:

2

I2"

LPs

(or

double

cassette)

from That's

Entertainment,

43

The

Market,

Covent

Garden,

London

WC2,

price

?15.99.

Vocal Score from Chappell & Co. Ltd.,

129

Park Street, London WI, price ?45 (Vocal Selection: ?6.95).

Libretto

(cased)

from

Samuel French

Ltd.,

26

Southampton

Street,

London

WC2,

price

?7.50.

Acknowledgements

The

author wishes to thank Mr.

Skip

Humphries,

Head of Music

Services,

London

Weekend

Television

Ltd.,

for the

loan

of

the

piano

conductor

score of

this

work

used in the

preparation

of the edition of LWT's

'South Bank

Show'

devoted

to

Sweeney

Todd-The

Demon Barber

f

Fleet

Street,

transmitted

on

28/7/1980.

All music

quoted

is

?

1979

Revelation Music

Publishing Corp.

and

Rilting

Music Inc. A

Tommy

Valando

Publication.

Reprinted by special permission.

Thi t t d l d d f 203 78 9 149 Th 22 M 2014 13 50 47 PM
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Sondheim's 'Sweeney Todd' - The Case for the Defence

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Transcript of Sondheim's 'Sweeney Todd' - The Case for the Defence