‘Sweeney’ horror story delights audience

In his “Book of Practical Cats,” T.S. Eliot wrote, succinctly, “A cat is not a dog.”

By the same logic, it’s also important to remember that a film is not a play. That’s especially true of the Stephen Sondheim/Hugh Wheeler 1979 musical “Sweeney Todd.”

Its most recent mass-culture incarnation is Tim Burton’s 2007 dark film of the same name, with Johnny Depp in the title role. The film is based on the stage musical, but it really is Burton’s vision, very dark and very bloody.

Live Arts’ current production of the stage version has more music—Burton used only about half of it— more humor (yes, humor) and a lot less gore.

In short, if you were disinclined to see or hated the film, you may very well love Live Arts’ production, which opened last Friday. For that matter, you may like the Live Arts production even if you loved the film. They are, so to speak, two very different animals.

And heaven knows Live Arts’ opening night audience loved it. It’s been a while since the DownStage saw that much stomping, whistling and general enthusiasm — and all for a musical horror story.

Remember those old urban horror legends? The escaped convict with a hook, for instance, who stalked young lovers in parked cars?

Such is the story of Sweeney Todd, a London urban legend since at least the early 19th century, the tale of a mad barber who slits throats and his lady friend who turns the victims into tasty meat pies.

Sondheim’s musical, subtitled “The Demon Barber of Fleet Street: A Musical Thriller,” gives the madman a motive and a heart, and like those old campfire terror-tales that kids love, really does turn it into a “musical thriller.”

By implying instead of spilling blood, fake or otherwise, Live Arts director John Gibson has created a production that carries audiences along with the story. This is a creative and well done show, featuring some of the area’s best musical talent.

Doug Schneider is cast in the very dramatic title role, and the music sometimes takes him to the bottom of his considerable vocal range, but, as always, he acts and sings very well.

But the real show stealer here is Lydia Underwood Horan as the crafty Mrs. Lovett, the pie shop owner who doesn’t like to see anything go to waste.

This role really is the plum of the show, with some very funny songs, and Horan couldn’t be better. The show is worth it for her performance alone.

Sadly, audiences can’t always hear precisely how good she is. If ever a show at Live Arts called for body mikes, it’s this one.

Though there are microphones visible all over the theater, they just aren’t good enough to pick up Sondheim’s complex lyrics, and since the lyrics tell the tale, this really does hurt the show.

Part of the audio problem might stem from the other major issue with the show. The performance space is just too tight, and Gibson keeps trying to go big in what really is not very much room.

The audience surrounds the performance area on three sides, with cabaret-type tables in the front row.

The space could’ve worked if Gibson had edited some. Not the script, but his tendency to have so much going on at once that it’s hard to focus on the key part of the action. It’s a two edged sword, since ensemble members also serve to shift scenery.

Sometimes it works well — there’s a nice intertwining of strings around a key character — but more often, less would be more. The “Pretty Women” number between Todd and his nemesis is powerful in its irony, but the focus moves and the spell is broken when new action takes place simultaneously downstage (literally, in this case.)

And all of the people on stage at once, with a full house, means that all of those warm bodies absorb sound. The lyrics might all have been intelligible during rehearsal, in an empty house.

The combination of too many elements and lyrics that can be hard to make out detract from what otherwise is an exceptional show. However, a few more performances might help iron out the kinks.

Poor Emma Duncan, as Johanna, may be giving an excellent performance, but she was almost impossible to hear opening night. The same can be said of seventh-grader Dylan McAuley as Tobias, a boy who plays a key part in the story. He appeared to be doing a terrific job, but even with a story-appropriate megaphone often couldn’t be heard.

The men were generally easier to hear, since the lower ranges usually are. And they were worth hearing. Dan Stern as the judge, Gary White as the young Anthony and Mark Valahovic (in an interesting Elvis-style wig) all deserve kudos.

Kate Lambert is hidden behind the rags of the beggarwoman for most of the show, but when she breaks out vocally toward the end with the “Searching” number, you pay attention.

Musical director Greg Harris has done a fine job with just four other musicians, and the onstage ensemble is excellent.

Since so much of this show is sung, it might help audiences not familiar with the story — and some of the funnier songs — to provide a written synopsis of the plot, the way New Lyric Theatre does with its Gilbert and Sullivan shows.

In the absence of body mikes, it’s too bad librettos aren’t available, but if you don’t know the show, Google it before you go. Just in case.

Because, overall, this is an excellent production, fully deserving of the opening night audience’s enthusiasm.