Sweeney Todd Book Key 4 the Note Inside the Envelope Says That a Man Has 1.1 1 Open Answers (A Old B Frightening Information About Mark Ingestrie
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Read an Excerpt
Excerpt Terms & Conditions This excerpt is available to assist you in the play selection process. You may view, print and download any of our excerpts for perusal purposes. Excerpts are not intended for performance, classroom or other academic use. In any of these cases you will need to purchase playbooks via our website or by phone, fax or mail. A short excerpt is not always indicative of the entire work, and we strongly suggest reading the whole play before planning a production or ordering a cast quantity of scripts. Family Plays SWEENEY TODD (Demon Barber of the Barbary Coast) Thriller adapted by TIM KELLY © Family Plays SWEENEY TODD Thriller. Adapted by Tim Kelly. Cast: 8m., 12w., extras. This non-musical version of Sweeney Todd, the world’s most heartless villain, is based on the same “penny dreadful” stories as the Sondheim musical (this script predates the musical). Sweeney Todd lures rich victims into his barber shop, puts them in a “special chair,” and ... where do they go? Ask Mrs. Lovett, owner of a nearby pastry shop which specializes in meat pies. Tim Kelly’s version is a delicious spoof of the Gay Nineties (1890s) melodrama, full of fun and suspense. Replete with the excitement, suspense and laughter that everybody hopes for in a melodrama—this play is of much higher quality than the burlesque, trite “mellerdrammers” that are found on second-rate stages. Directors will be proud to present this play—whether it’s for an annual fun-melodrama or a major production.Sweeney Todd is fast-moving and side-splitting .. -
Sweeney Todd the Demon Barber of Fleet Street May 10 – June 7, 2020 Edu TABLE of CONTENTS
A NOISE WITHIN’S 2019-2020 REPERTORY THEATRE SEASON AUDIENCE GUIDE Stephen Sondheim’s Sweeney Todd The Demon Barber Of Fleet Street May 10 – June 7, 2020 Edu TABLE OF CONTENTS Character Map . 3 Synopsis . 4 About the Author: George Dibdin Pitt . 5 About the Adaptors: Christopher Bond, Hugh Wheeler, and Stephen Sondheim . 7 History of Sweeney Todd: A Timeline . 9 Change in the Air: The Transition from the Industrial Revolution to the Victorian Era . 10 Pretty Women: The Role of Women in 19th Century England . 11 The Great Divide: Social Inequality in Industrial and Victorian England . 14 Melodrama and Musicals . 15 The Evolution of the Sweeney Todd Story from Melodrama to Musical . 17 Themes . 18 Revenge . 18 Love and Desire . 18 Freedom and Captivity . 19 Madness . 19 Ken Booth Lighting Designer . 20 Additional Resources . 21 A NOISE WITHIN’S EDUCATION PROGRAMS MADE POSSIBLE IN PART BY: Ann Peppers Foundation The Green Foundation Capital Group Companies Kenneth T . and Michael J . Connell Foundation Eileen L . Norris Foundation The Dick and Sally Roberts Ralph M . Parsons Foundation Coyote Foundation Steinmetz Foundation The Jewish Community Dwight Stuart Youth Fund Foundation 3 A NOISE WITHIN 2019/20 REPERTORY SEASON | Spring 2020 Study Guide Sweeney Todd CHARACTER MAP Mrs. Lovett The owner of a struggling meat pie shop . She knew Sweeney Todd before he was sent to Australia, and she helps him set up a barbershop when he returns to London . Sweeney Todd/Benjamin Barker An English barber formerly known Beggar Woman/Lucy Barker as Benjamin Barker . After spending A woman who has gone mad over 15 years wrongfully incarcerated in time . -
CH Sweeney SSC Breakdown.Pdf
Sweeney Todd / Cambria Heights High School Scene / Song Character Breakdown Song Name/Scene Real Name Character Name Music Notes Act 1 - Prologue #1 - Prologue Script Pg. 1 Vocal Score Pg. -- Entire Prologue (none) (none) (none) #2 The Ballad of Sweeney Todd Script Pg. 1-3 Vocal Score Pg. 141-151 m. 59-74 & m. 114-136 m. 139-end Timm Link 1st Man, m. 4 S - Sarah, Lydia, Ashley, Noelle Morrone 2nd Man, m. 31 Lauren, Noelle P. (See Music Columns) Company, Chorus A - Courtney, Emily, Sheldon Mayo Tobias, m. 78 Shaina, Alli, Andrea, Shaina Sclesky 3rd Man, m. 83 Hannah Kyle Huber 4th Man, m. 86 T - Noelle M, Michaela, In octaves. Sing the octave that is most Emmy Fisher 1 of 2 Women, m. 91 Georgie, Emmy comfortable. Hannah Bearer 2 of 2 Women, m. 91 Bari - Evan J, Brad, Zachary Smego Add Tenor, m. 88 Sheldon, Calem All Women in Cast Women, m. 102 Bass - Timm, Kyle, Evan K, Zack, Michael John Morrone Todd, m. 137 do not sing Act 1 - Scene 1 #3 - No Place Like London Script Pg. 3-8 Vocal Score Pg. 152-160 Entire Song Zachary Smego Anthony John Morrone Todd Solo Lines, No Harmony Emmy Fisher Beggar Woman #4 - Transition Music Script Pg. 8-9 Vocal Score Pg. -- Entire Transition Hannah Bearer Mrs. Lovett Spoken Line Act 1 - Scene 2 #5 - Worst Pies In London Script Pg. 9-11 Vocal Score Pg. 161-166 Entire Song John Morrone Todd Just Present During Song Hannah Bearer Mrs. Lovett Solo Lines Scene Script Pg. -
1-24-17 Opera Workshop
Williams Opera Workshop SWEENEY TODD The Demon Barber of Fleet Street A Musical Thriller Music and Lyrics by Book by STEPHEN SONDHEIM ’50 HUGH WHEELER From an Adaptation by CHRISTOPHER BOND Originally Directed On Broadway by HAROLD PRINCE Orchestrations by Jonathan Tunick Originally Produced on Broadway by Richard Barr, Charles Woodward, Robert Fryer, Mary Lea Johnson, Martin Richards in Association with Dean and Judy Manos Prelude Prologue: The Ballad of Sweeney Todd . Todd, Company Act I Scenes: 1. A street by the London docks: No Place Like London . Anthony, Todd, Beggar Woman 2. Mrs. Lovett’s Pie Shop: Worst Pies in London . Mrs. Lovett My Friends . Todd, Mrs. Lovett Ballad of Sweeney Todd, Reprise . Company 3. Judge Turpin’s House: Green Finch and Linnet Bird . Johanna Johanna (Part 1 & 2) . Anthony 4. St. Dunstan’s marketplace: Pirelli’s Entrance . Pirelli The Contest (Part 1) . Pirelli 5. Sweeney Todd’s Tonsorial Parlor: Pirelli’s Death . Pirelli 6. Outside Judge Turpin’s house: Kiss Me (Part 1) . Johanna, Anthony Ladies in their Sensitivities . Beadle 7. Sweeney Todd’s Tonsorial Parlor: Pretty Women (Part 1) . Judge, Todd Pretty Women (Part 2) . Todd, Judge, Anthony Epiphany . Todd, Mrs. Lovett 8. Mrs. Lovett’s Pie Shop: A Little Priest . Mrs. Lovett, Todd Continued on reverse side Tuesday, January 24, 2017 7:00 p.m. Chapin Hall Williamstown, Massachusetts The videotaping or other video or audio recording of this production is strictly prohibited. Act 2 9. The streets of London: Johanna—Act 2 Sequence . Anthony, Todd, Johanna, Beggar Woman 10. Mrs. Lovett’s Pie Shop: Not While I’m Around . -
Cannibal and Transcendence Narratives in Les Misérables, Sweeney Todd, and Interview with the Vampire
Cannibal and Transcendence Narratives in Les Misérables, Sweeney Todd, and Interview with the Vampire Judith Wilt (Boston College, Massachusetts, USA) Abstract: This essay studies the interlocking cannibal and transcendence plotlines supplied by three Victorian texts to three neo-Victorian works, two of them musicals, and one of them a key twentieth-century reworking of perhaps the original nineteenth-century cannibal narrative, the vampire legend. Alain Boublil and Claude-Michel Schönberg’s Les Misérables (1985) and Stephen Sondheim and Hugh Wheeler’s Sweeney Todd (1979) theatricalise this interlocking of narratives in surprisingly similar ways: Anne Rice’s Interview with the Vampire (1976) stages the cannibal and the transcendent impulses in a series of climaxes in and around the Théâtre des Vampires in Paris. Both the musicals and the novel break their deliberately theatrical frames in challenges to their audiences, raising in their similar ways the nineteenth-century question whether one can be Victorian without being a Romantic, and the twentieth-century question how one can be ‘neo’ as well as ‘Victorian’. Keywords: cannibal, The French Lieutenant’s Woman, Interview with the Vampire, Les Misérables, musicals, punishment, revolution, Sweeney Todd, theatre, transcendence. ***** When I went to graduate school in the 1960s I decided to be a Victorianist, because I felt like a Victorian. When John Fowles’s The French Lieutenant’s Woman (1969) came out shortly thereafter, I saw I could be a neo-Victorianist too. I fell in love with the musicals Les Misérables (1985), by Alain Boublil and Claude-Michel Schönberg, and Sweeney Todd (1979), by Stephen Sondheim and Hugh Wheeler, in the 1980s, both of them, despite the fact that reviewers and later scholars seemed to fear and loathe the first and admire the second. -
Doug Goheen Big Dog Publishing
Doug Goheen Adapted from the 1846-47 serialized penny dreadful, The String of Pearls: A Romance Big Dog Publishing Sweeney Todd 2 Copyright © 2010, Doug Goheen ALL RIGHTS RESERVED Sweeney Todd and the String of Pearls is fully protected under the copyright laws of the United States of America, and all of the countries covered by the Universal Copyright Convention and countries with which the United States has bilateral copyright relations including Canada, Mexico, Australia, and all nations of the United Kingdom. Copying or reproducing all or any part of this book in any manner is strictly forbidden by law. No part of this book may be stored in a retrieval system or transmitted in any form by any means including mechanical, electronic, photocopying, recording, or videotaping without written permission from the publisher. A royalty is due for every performance of this play whether admission is charged or not. A “performance” is any presentation in which an audience of any size is admitted. The name of the author must appear on all programs, printing, and advertising for the play. The program must also contain the following notice: “Produced by special arrangement with Big Dog Publishing Company, Sarasota, FL.” All rights including professional, amateur, radio broadcasting, television, motion picture, recitation, lecturing, public reading, and the rights of translation into foreign languages are strictly reserved by Big Dog Publishing Company, www.BigDogPlays.com, to whom all inquiries should be addressed. Big Dog Publishing P.O. Box 1400 Tallevast, FL 34270 Sweeney Todd 3 For Nathan and Jacob Sweeney Todd 4 Sweeney Todd and the String of Pearls CLASSIC HORROR. -
Spring 2015 CUES Internet at the Speed of Whoa
OPERAVolume 55 Number 05 | Spring 2015 CUES Internet at the speed of whoa. XFINITY® Internet delivers the fastest and most reliable in-home WiFi for all rooms, all devices, all the time. To learn more call 866-620-9714 or visit comcast.com Restrictions apply. Not available in all areas. Features and programming vary depending on area and level of service. WiFi claims based on April and October 2013 study by Allion Test Labs, Inc. Actual speeds vary and are not guaranteed. Reliably fast speed based on February 2013 FCC Broadband Report. Call for restrictions and complete details. ©2014 Comcast. All rights reserved. All trademarks are property of their respective owners. DIE WALKÜRE APRIL 18, 22, 25, 30 MAY 3 SWEENEY TODD APRIL 24, 26, 29 MAY 2, 8, 9 PATRICK SUMMERS PERRYN LEECH ARTISTIC & MUSIC DIRECTOR MANAGING DIRECTOR Margaret Alkek Williams Chair ADVERTISE IN OPERA CUES Opera Cues is published by Houston Grand Opera Association; all rights reserved. Opera Cues is produced by Houston Grand Opera’s Communications Department, Judith Kurnick, director. Director of Publications Laura Chandler Art Direction / Production Pattima Singhalaka Contributors Kim Anderson Paul Hopper Perryn Leech Elizabeth Lyons Patrick Summers For information on all Houston Grand Opera productions and events, or for a complimentary season brochure, please call the Customer Care Center at 713-228-OPERA (6737). Houston Grand Opera is a member of OPERA America, Inc., and the Theater District Association, Inc. Find HGO online: HGO.org facebook.com / houstongrandopera twitter.com / hougrandopera instagram.com/hougrandopera Readers of Houston Grand Opera’s Opera Cues magazine are the Mobile: HGO.org most desirable prospects for an advertiser’s message. -
Determining Stephen Sondheim's
“I’VE A VOICE, I’VE A VOICE”: DETERMINING STEPHEN SONDHEIM’S COMPOSITIONAL STYLE THROUGH A MUSIC-THEORETIC ANALYSIS OF HIS THEATER WORKS BY ©2011 PETER CHARLES LANDIS PURIN Submitted to the graduate degree program in Music and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy. ___________________________ Chairperson Dr. Scott Murphy ___________________________ Dr. Deron McGee ___________________________ Dr. Paul Laird ___________________________ Dr. John Staniunas ___________________________ Dr. William Everett Date Defended: August 29, 2011 ii The Dissertation Committee for PETER PURIN Certifies that this is the approved version of the following dissertation: “I’VE A VOICE, I’VE A VOICE”: DETERMINING STEPHEN SONDHEIM’S COMPOSITIONAL STYLE THROUGH A MUSIC-THEORETIC ANALYSIS OF HIS THEATER WORKS ___________________________ Chairperson Dr. Scott Murphy Date approved: August 29, 2011 iii Abstract This dissertation offers a music-theoretic analysis of the musical style of Stephen Sondheim, as surveyed through his fourteen musicals that have appeared on Broadway. The analysis begins with dramatic concerns, where musico-dramatic intensity analysis graphs show the relationship between music and drama, and how one may affect the interpretation of events in the other. These graphs also show hierarchical recursion in both music and drama. The focus of the analysis then switches to how Sondheim uses traditional accompaniment schemata, but also stretches the schemata into patterns that are distinctly of his voice; particularly in the use of the waltz in four, developing accompaniment, and emerging meter. Sondheim shows his harmonic voice in how he juxtaposes treble and bass lines, creating diagonal dissonances. -
Film Reviews
Page 104 FILM REVIEWS “Is this another attack?”: Imagining Disaster in C loverfield, Diary of the Dead and [ Rec] Cloverfield (Dir. Matt Reeves) USA 2007 Paramount Home Entertainment Diary of the Dead (Dir. George A. Romero) USA 2007 Optimum Home Entertainment [Rec] (Dir. Jaume Balagueró & Paco Plaza) S pain 2007 Odeon Sky Filmworks In 1965, at the height of the Cold War, Susan Sontag declared in her famous essay ‘The Imagination of Disaster’ that the world had entered an “age of extremity” in which it had become clear that from now until the end of human history, every person on earth would “spend his individual life under the threat not only of individual death, which is certain, but of something almost insupportable psychologically – collective incineration which could come at any time”. Sontag went on to claim that narratives in which this fate was dramatised for the mass audience in fantastical form – like the monster movies of the 1950s – helped society deal with this stress by distracting people from their fate and normalising what was psychologically unbearable: a kind of vaccination of the imagination, if you will. If this is the case, then Cloverfield, in which Manhattan is destroyed by an immensely powerful sea monster, George A. Romero’s latest zombie movie, Diary of the Dead, and claustrophobic Spanish hit [Rec] are not so much preemptive vaccinations against probable catastrophe, but intermittently powerful, if flawed, reminders of actual calamity. In all three films some of the most destabilising events and anxieties of the past decade – including 9/11 (and the fear of terrorist attacks striking at the heart of American and European cities), Hurricane Katrina, the 2004 Tsunami, and the SARS virus– are reconfigured as genrebased mass market entertainment. -
Artswest Playhouse and Gallery Announces SWEENEY TODD, Stephen Sondheim's Award-Winning Classic
FOR IMMEDIATE RELEASE Date: May 3, 2017 Contact: Michael Wallenfels Email: [email protected] Phone: (206) 938-0963, ext. 125 ArtsWest Playhouse and Gallery Announces SWEENEY TODD, Stephen Sondheim's Award-Winning Classic Music and lyrics by Stephen Sondheim Book by Hugh Wheeler Based on an adaptation by Christopher Bond Directed by Mathew Wright & Eric Ankrim SEATTLE, WA (May 3, 2017) - ArtsWest is pleased to announce SWEENEY TODD, Stephen Sondheim's Tony Award-winning musical about a tortured man who carves out a bloody path to vengeance, opening at the ArtWest Playhouse and Gallery on June 1. Performances will run Thursday through Sunday until July 1. SWEENEY TODD follows an exiled man who, after returning to the city that cast him out, finds refuge in an abandoned attic barbershop. There he forms an unlikely partnership with the woman downstairs, the pie baker Mrs. Lovett, herself an outcast with an axe to grind against the ruling powers. When the two hatch a gutsy plan for revenge, the powerful elite - who have for years swept the powerless under the rug - are soon swallowed up by the same hungry masses they worked to oppress. Adding a new dimension to SWEENEY TODD's timeless story is the casting of an incredibly diverse ensemble of Seattle actors, including leads Sweeney Todd (Ben Gonio, NBC's GRIMM, solo show BOUNDLESS AS THE GREEN EARTH) and Mrs. Lovett (Corinna Lapid Munter, 5th Avenue Theatre's THE SOUND OF MUSIC, THE MUSIC MAN). Co-directors Mathew Wright (recently director of ArtsWest's FROZEN and GHOSTS) and Eric Ankrim (ArtsWest's PETER AND THE STARCATCHER) have developed a bold vision for SWEENEY TODD that places race, oppression and power squarely at the forefront of this new telling. -
AQA Music a Level Area of Study 4: Music for Theatre
AQA Music A Level Area of Study 4: Music for Theatre NAME: TEACHER: 1 Contents Page Contents Page number What we are studying 3 Timeline 4 Kurt Weill 5 The Threepenny Opera 6 Rise and Fall of Mahagonny 9 Richard Rodgers 10 Oklahoma! 11 Carousel 15 Stephen Sondheim 16 Sweeney Todd 17 Into The Woods 21 Claude-Michel Schonberg 22 Miss Saigon 23 Les Miserables 26 Jason Robert Brown 27 The Last Five Years 28 Parade 31 Essay Questions and unfamiliar listening tests 32 Vocabulary specific to this unit 33 2 One essay question will be set on this topic. You will choose between answering an essay on Music for Theatre or on Jazz. You will need to answer listening questions and shorter essay questions on both topics, so you must study both. You will be studying these named artists and these suggested pieces from the board: Artists Pieces (Suggested listening) Kurt Weill Rise and Fall of the City of Mahagonny: - ‘Alabama Song’ - ‘Havana Song’ The Threepenny Opera: - ‘Ballad of Mack the Knife’ - ‘Jealousy Duet’ - ‘Pirate Jenny’ Richard Rogers Oklahoma!: - ‘Oh, What a Beautiful Mornin’’ - ‘Lonely Room’ - ‘Oklahoma’ Carousel: - ‘Louise’s Ballet: Pas de deux’ - ‘What’s the Use of Wond’rin?’ Stephen Sondheim Sweeney Todd: - ‘Prelude’ - ‘Green Finch and Linnet Bird’ - ‘A Little Priest’ - ‘My Friends’ Into The Woods: - ‘On the Steps of the Palace’ - ‘Agony’ - ‘Giants in the Sky’ - ‘Last Midnight’ Claude-Michel Miss Saigon: Schönberg - ‘I’d Give My Life for You’ - ‘Bui Doi’ - ‘I Still Believe’ Les Miserables: - ‘One Day More’ - ‘Bring Him Home’ Jason -
Harrington's Pie and Mash Shop 3 Selkirk Road Tooting, London
Harrington’s Pie and Mash Shop 3 Selkirk Road Tooting, London. Open for business since 1908. RACHEL EDWARDS JENNY GERSTEN SEAVIEW PRODUCTIONS NATE KOCH, Executive Producer FIONA RUDIN BARROW STREET THEATRE JEAN DOUMANIAN REBECCA GOLD “A Customer!” present My name is Rachel Edwards and I am the originating producer of Tooting Arts Club’s Sweeney The Tooting Arts Club production of Todd. On behalf of myself, and my producing partners Jenny Gersten, Greg Nobile, Jana Shea and Nate Koch, it is our pleasure to welcome you to Harrington’s Pie and Mash Shop! In the spring of 1908, number 3 Selkirk Road Tooting, London, became the home of Harrington’s Pie and Mash shop when it was bought by Bertie Harrington and his wife Clara. Little has changed in this tiny Tooting eatery since it first opened for business some 109 years ago. The Harrington fam- ily still run the shop, the original green tiles still adorn the walls and the menu remains unchanged since the days of Queen Victoria. A Musical Thriller Music and Lyrics Book by The idea to stage Sweeney Todd in London’s oldest pie and mash shop was one which I lived with for several years before I dared to say it out loud. It felt too outrageous, too complicated, in essence – it felt impossible. A simple ‘yes’ from Beverley Mason – owner of Harrington’s, and great STEPHEN SONDHEIM HUGH WHEELER grand-daughter of Bertie and Clara – changed everything. Subsequently, an unforgettable collabora- tion was born that set in motion a chain of events that was nothing short of extraordinary.