I finally got hold of a DVD copy of this production and was agog with curiosity, since I had read so many people praising it to the skies, particularly Angela Lansbury's portrayal of Mrs. Lovett. I saw the Tim Burton movie a few months ago and thought it over the top and overly bloody; thankfully this version is not so horrifying gory but it suffers dramatically in too many other ways for it to be in the least satisfying to me.To begin with, the casting. George Hearn is adequate and at least shows some expression (as opposed to Johnny Depp's unending wooden face in the movie). Angela Lansbury is, quite simply, annoying. At least she has enough power in her voice to get the point across as opposed to Helena Bonham Carter's piping and expressionless little girl's voice, but subtlety seems to be only a word in the dictionary to Ms. Lansbury. One cannot be drawn into the story when one of the main characters spends her entire time mugging and winking in a "look, Ma, I'm acting!" fashion and being far too aware of the audience. This is not something that is typical of stage productions, heaven knows--I have been a regular attendee of many productions at the Stratford Festial for many years and stage actors do NOT behave in that fashion as a rule (at least those who want to continue to find regular employment do not!)...Betsy Joslyn. Oh dear, oh dear, oh dear. Did anybody besides me notice that she can't sing this role even vaguely appropriately? And her playing George Hearn's daughter is just creepy, considering that she was married to him at the time. Isn't she supposed to be a sweet little sixteen-year-old? Yes, I realize that this is what acting is all about, but not once did she convince me that she was any younger than about thirty-five, and the phrase "mutton dressed as lamb" seems to have been coined just for her. Her butchering of "Green Finch And Linnet Bird" had me gnashing my teeth and ready to turn off the DVD player at once. That song was done so well in Tim Burton's movie, and this was a sad shock. The song requires the vocal range of Julie Andrews in the 1960's and a purity of voice that is only comparable to that of a boy soprano. Any vibrato at all kills it dead, and Ms. Joslyn spent the entire time warbling so hard that I thought she was about to fall off of her ladder because she was trembling so much from the effort at sustaining coloratura notes with a voice that is a mezzo at best. Let us pass over the spectacle of her vibrating at least a quarter tone flat on at least three of the higher notes... This is quite simply not a coloratura role and perhaps a discerning director should have told her that--but the fact that she was married to the star might possibly have tied the director's hands.Cris Groenendaal was adequate, but again obviously far too old for the role and there is zero chemistry between him and Ms. Joslyn, which makes the whole subplot fall completely flat. I am reminded a little of past stage productions of Wagner's Ring cycle where, due to the vocal power required for the singers to bellow over the sound of a full Wagnerian orchestra they would have to cast based upon ability to penetrate vocally as opposed to any appearance or acting ability or even a good voice, which is why you have the caricature of the massive mountainous Viking-horned Brunehilde with a triple chin and a beard, when the libretto calls for an ethereal beauty who is eternally young and bewitching. The casting of the "juvenile" leads is exactly like that--if you close your eyes you can almost believe in Mr. Groenendaal's Anthony, but as soon as you look at the screen the illusion is shattered. (And at NO time can you ever believe in Ms. Joslyn's Johanna...) For me, the rest of the production was completely lost because of three out of the four major characters were so obviously miscast. I cannot give a proper review of anything else because they were so distracting that they spoiled the rest of the production. I really can't understand why people rave about this badly-shot and self-conscious filming of a stage play. Surely there's more to camera work in the theatre than just plunking a camera down in the front row? If I want that, I'll go to a decent play, preferably at the Stratford Festival, where at least they work together for the production and aren't constantly mugging for the camera. I give it three stars only because the quality of the production apart from the antics of Lansbury and Joslyn seems adequate if not spectacular.Probably the best thing one can do is buy the soundtrack of the film and a cast recording of this play, and then combine the two to make a bearable whole. That's what I'm going to do, and try to forget that I ever bothered to rent this wholly unremarkable production.

Well I'm not the world's biggest Sondheim fan, so although I have the cast album and I've listened to it a few times I've never actually seen this show performed and I haven't seen the Tim Burton movie version either. I felt like I wanted to see something more faithful before I see the Burton one and give it a chance just as a movie. This version isn't a movie at all, it's a filmed play with some of the original members of the cast, including most importantly Angela Lansbury's performance as Nellie Lovett. This is one of those performances that's just like a conduit into the heart of the magic of Broadway and theater itself. She must have had so much fun with this role. Sweeney Todd himself isn't played by Len Cariou, who did it originally, but by George Hearn. Hearn does a fantastic job; his voice isn't quite as good as Cariou's, but he seems to play it a bit broader.The only problem I had really was with the Johanna character as played by Betsy Joslyn, and to some extent her lover Anthony as played by Cris Groenendaal. Joslyn's voice can't sustain high notes, but I wasn't entirely sure if that was maybe supposed to be the point since I'm not hugely familiar with this play. More importantly, I'm not sure if the story of "Sweeney Todd" really holds up enough weight to sustain some of the music, but thankfully the whole thing doesn't seem to have been taken too seriously by its creators. As a lark, and a bit of comedy in the vein of "Grand Guignol", it's quite enjoyable. I don't feel like it's as significant a piece of work as "Company" and "Into the Woods" or some of his other shows. Some of the music is quite spectacular, but at other points it seems to exist in a world outside of the show.I won't say a whole lot about it here because this is a film website and this is really not a film, but just a play that has been shot on film. There were maybe 3 or 4 scenes where they moved the camera around but that was it. People will want to see this, because it preserves Lansbury's legendary performance which deserves its legendary status because it's a hilarious and insightful performance. George Hearn can be proud of his version of Sweeney as well. This would be a good film to show children over the age of 5 or so to get them interested in musicals because the blood and cannibalism will really surprise them. Seeing a performance filmed so expertly and so faithfully makes me wish that more efforts like this had been made over the years with musical theater, because I prefer shows from the 20s through the 50s to these later era affairs. "Sweeney Todd" is an exceptional show from its era however, miles and miles above the AL Webber madness.

Televised in 1982, from a Los Angeles production, this is probably the finest example of a filmed stage musical you are likely to encounter. Issued on DVD in 2004 in a remastered digital transfer, it is quite stunning. Hearn and Lansbury give the performances of their lives and the rest of the cast are quite obviously caught up in the electricity generated. Of course it is Sondheim's music and lyrics that make this possible. If anyone doubts that he is one of the "greats" of the American Musical form listen to this. The sets are stark, as befits the plot, and clever in allowing the swift scene changes required and the cameras catch the action without obliterating the fact that this is a stage production. A central, move-able and revolving platform is Mrs. Lovett's pie shop, with the barber's shop upstairs. Around it are various gantries and moving stairs to allow the rest of the action to take place. The brutal tale of injustice leading to revenge, murder and mayhem is liberally spiced with dark humour and comic moments. Sondheim does for barber shops what Hitchcock did for showers ! An important work in American musical theatre is here given an electrifying performance.

Though the video technology may be dated, this classic musical play, now on DVD, is the best version of Sondheim's most important and polished work on Broadway. If you've never seen SWEENEY TODD, then you must buy this DVD. I saw this production in November 1980 at Kennedy Center in Washington--and fell in love with a pre-"Murder She Wrote" Angela Lansbury. Subsequently, I tried to find any and all of her work, among them: MOVIES: "The Harvey Girls," "The Picture of Dorian Gray," "Manchurian Candidate"; CDs: "Mame," "Dear World," and "Gypsy"; and many more. The rest of the cast is flawless, too. All in all, this wonderful DVD gives us the definitive version of Sondheim's opera!