SWEENEY TODD is presented through special arrangement with Music Theatre International (MTI).

All authorized performance materials are also supplied by MTI.

421 West 54th Street, New York, NY 10019 Phone: 212-541-4684 Fax: 212-397-4684 www.MTIShows.com
 TABLE OF CONTENTS

Credits page p. 2

Who Is Vertigo Theatre? p 3.

About Going to the Theatre p. 4

About the Play p. 5

About the Characters p. 5

About the Composer/Lyricist p. 6

Meet Musical Director Stephen Woodjetts p. 7

Pre-show Activities
The Industrial Revolution p. 8
Song is Text p. 9
Dumb Show p. 10
Play Themes p. 10

Post-show Activities
Discussion Topics p. 11
Inner Monologue p. 12
Pitch Your Screenplay p. 12
Revenge is Sweet? p. 13
Student Play Review p. 15

Sponsor Information p. 16

Teacher Evaluation p. 17

Vertigo Theatre is committed to creating a welcoming atmosphere for schools

and to assist teachers and parent chaperones with that process. It is our wish to
foster and develop our relationship with our student audience members. It is our
intention to create positive theatre experiences for young people by providing
study guides and post-show “talk backs” with our actors and theatre personnel, in
order to enrich studentsʼ appreciation of theatre as an art form and enhance their
enjoyment of our plays.
 ABOUT THE PLAY

SWEENEY TODD, THE DEMON BARBER OF FLEET STREET by composer/

lyricist Stephen Sondheim and librettist Hugh Wheeler, is both a melodramatic
musical thriller rife with sensational surprises, and an examination of class
structure and a corrupt justice system. The musical, which opened on Broadway
March 1, 1979, was originally directed by the renowned Harold Prince. It ran for
557 performances and won eight Tony awards.
Based on a version of the popular English melodrama, SWEENEY TODD by
British playwright Christopher Bond, the show is set in and around Fleet Street in
19th century London. The main character is a barber who slits the throats of his
customers and turns the corpses over to a female accomplice in the shop below
his. She then grinds up the remains and bakes them into meat pies.
The people in SWEENEY TODD are fuelled by basic and simple human
emotions: greed, lust, vengeance, and a desire to love and be loved in return.
They live in a corrupt, unjust and dangerous world.
Christopher Bond, the man who penned the play on which this musical is based,
wrote: “For me there is only one rule in the theatre: Does it work? And by that I
donʼt mean will the show run for twenty years or make X million dollars, but have
I come out of the theatre feeling more alive than when I went in? Has my
imagination been fired, my emotions been aroused, my brain kick-started into
life? Is my heart pounding and my mind racing; and, if the show is a musical, do
a series of discordant and Neanderthal groans issue from my mouth? (This is
known as Chris hums the score.) When I see SWEENEY TODD all these things
usually happen.”

ABOUT THE CHARACTERS

Sweeney Todd/Benjamin Barker is a barber by profession. Gloomy and

brooding, he returns to London after having been unjustly jailed in an Australian
penal colony for fifteen years. He seeks revenge on the corrupt Judge who sent
him there.

Mrs. Lovett is Sweeney Toddʼs landlady. She is quite besotted with him. Her pie
shop is dirty and swarming with flies; however, once she creates a new recipe
with a mysterious secret ingredient, she is forced to clean up her act and can
hardly keep up with the demand for her tasty offerings.

Anthony Hope is a cheerful, young shipʼs first mate. He rescued Sweeney Todd
when he was lost at sea and brought him back to London.

Johanna Barker is a beautiful young woman with gorgeous blonde hair. She is
actually Sweeney Toddʼs daughter, but the nasty Judge Turpin claimed her as his
own ward.
 The most murderous musical of all time

Music and Lyrics by Stephen Sondheim

The Cast
KEVIN AICHELE Sweeney Todd
ELIZABETH STEPKOWSKI TARHAN Mrs. Lovett
SCOTT SHPELEY Anthony Hope
ALLISON LYNCH Johanna
SCOTT OLYNEK Tobias Ragg
REID SPENCER Judge Turpin
HAL KERBES The Beadle
ELINOR HOLT Beggar Woman
DANIEL MALLETT Pirelli
CODY THOMPSON Jonas Fogg
KATHERINE FADUM Bird Seller
SASHA BARRY Young Lucy
Denizens of Fleet Street, Customers, Policemen and Inmates played by members of the company

MUSICIANS
STEPHEN WOODJETTS Musical Director/Piano
WILLY JOOSEN Keyboard (May 5 - May 8)
ANTHONY CZARNECKI Keyboard (May 9 - June 3)
KEITH O’ROURKE Clarinet/Flute
CINNAMON ANDERSON French Horn
STEPHEN FOSTER Percussion

CREATIVE TEAM
MARK BELLAMY Director
STEPHEN WOODJETTS Musical Director
MIKE GRIFFIN Assistant Director
SUSAN LEXA Associate Music Director/Vocal Coach
NARDA MCCARROLL Set & Lighting Designer
DEITRA KALYN Costume Designer
AMY LIPPOLD Stage Manager
RUBY DAWN EUSTAQUIO Assistant Stage Manager
MEGAN GURNSEY Apprentice Stage Manager
TERRI GILLIS Production & Facility Manager
JEREMY PARKER Technical Director
SKYE PERRY Production Associate
JEREMY PARKER Scenic Carpenter
DAWNA MARK Head Scenic Painter
CHRISTINA MCDONALD Scenic Painter
CAROLYN DEVINS Costumer
ANASTASIA VOGL Wardrobe Assistant
KEVIN COREY Head of Props
RACHEL MICHELLE SHERIDAN Props Assistant
NICOLE OLSON GRANT SUTTIE Playhouse Technician

TIME & PLACE

London: Fleet Street and environs
The mid 19th Century

Special Thanks
Lillian Messer, The Citadel Theatre, Nico Vanderkley, Carla Lynn Bagley, Ryan Sigurdson, Calgary Arts Academy,
St. John’s Music, Theatre Calgary, Alberta Theatre Projects, Epcor Centre, Calgary Opera, Jim Bob Boudreau

SWEENEY TODD
Is presented through special arrangement with Music Theatre International (MTI).
All authorized performance materials are also supplied by MTI.
421 West 54th Street, New York, NY 10019
Phone: 212-541-4684 Fax: 212-397-4684
www.mtishows.com

The videotaping or other video or audio recording of this production is strictly prohibited.

Vertigo Theatre is a member of the Professional Association of Canadian Theatre and engages professional artists
who are members of Canadian Actors’ Equity Association through the Canadian Theatre Agreement.

Vertigo Theatre gratefully acknowledges the support provided by our government funders.

Administrative Offices: Suite 161, 115 – 9th Avenue SE, Calgary, AB T2G 0P5
Phone: (403) 221-3707 Fax: (403) 263-1611
www.vertigotheatre.com
Vertigo Mystery Theatre’s Sweeney Todd: The Demon Barber of Fleet Street 5
Judge Turpin is a corrupt, egocentric official. He claims to be an upholder of
justice while twisting the system to serve his own purposes.

Tobias Ragg is a simple-minded boy. Even though he enjoys working for Mrs.
Lovett, he is suspicious of Sweeney Todd.

Beadle Bamford (the Beadle) is Judge Turpinʼs right-hand man and nasty
accomplice to his crimes.

Beggar Woman is a ragged, mad creature of the streets with a filthy tongue and
a giant secret.

Adolfo Pirelli is a flamboyant Italian barber who tries to blackmail Sweeney

Todd. He is actually an Irishman, Daniel OʼHiggins, who had worked for Todd
when he was younger.

Jonas Fogg is the owner of a lunatic asylum.

The Company serves as a commenting chorus and portrays the citizens of

London who frequent the Fleet Street area, inmates of the lunatic asylum, police,
and other supporting characters.

ABOUT THE COMPOSER/LYRICIST

Stephen Joshua Sondheim was born in New York City on March 22nd, 1930. His
work as a composer/lyricist over the past four decades has set the standard for
modern American musical theatre.
Mr. Sondheim has won a record seven Tony Awards: in 1971, best score
(musical) and best lyrics (musical) for COMPANY; in 1972, best score (composer
and lyrics) for FOLLIES; in 1973, best score (musical – music and lyrics) for A
LITTLE NIGHT MUSIC; in 1979, best score (music and lyrics) for SWEENEY
TODD; in 1988, best score (musical – music and lyrics) for INTO THE WOODS;
and in 1994, best score (music and lyrics) for PASSION. He was also Tony-
nominated six other times.
Stephen Sondheim won the Pulitzer Prize for the musical SUNDAY IN THE
PARK WITH GEORGE, collaborating with James Lapine. In 2008, he was
awarded a Special Tony Award for lifetime achievement.
Christopher Bond, the British playwright who wrote the play on which the musical,
SWEENEY TODD is based, said in his introduction to Sondheimʼs script, “I find it
difficult to write about someone whom I admire so much without it sounding
soppy; suffice to say that since Iʼve become familiar with his work I find it difficult
to sit through a show that isnʼt by Stephen Sondheim without wishing that it was. I
also have been known to pick fist-fights with people who complain that his work
has no heart … Steve has always been generous about my contribution to
SWEENEY: itʼs nice to be able to say thanks.”

MEET MUSICAL DIRECTOR STEPHEN WOODJETTS

What is your background, education and training and how did you come to
musical direction as a career choice?
I played for ballet classes from the time I was fourteen, and became interested in
dance. After finishing high school (grade 13 in Ontario), I was accepted, on a
scholarship, at the National Ballet School as a dancer, and worked there as a
pianist as well. Before my second summer at NBS, I received a call from a
summer theatre that needed an Musical Director for THE FANTASTICKS. I loved
the show, and played the score for my own enjoyment, so off I went for the
summer to the Muskoka Festival. I returned to the ballet school in the fall, and
the following summer went back to the same theatre to do DAMES AT SEA,
which was brought back to Toronto, and that was the end of ballet for me. I've
worked in theatre ever since.

What do you love most about what you do?

Every song is a challenge; to help actors find their way through the material, to
discover as much as possible about the characters and how we tell the story is a
never-ending search. It's wonderful to visit a show again after some years, to
approach it with a more mature and experienced view. And, most of all, the
people I've met over the past forty years have made every minute a spectacular
adventure.

What scares you the most about what you do?

Probably my biggest fear is to let an actor down in some way. Of course, we all
want to be perfect in performance (which is impossible), but we have to let go of
any thoughts of perfection, and know that it's all about progress. If I can give
everything I have to the work, that fear will usually disappear.

Describe some of the biggest mistakes that actors make in musical theatre
auditions.
Probably the biggest mistake is to worry about what the audition panel will think
of you. Know your material, connect with the truth of it, give all of yourself to it,
and let things fall as they will. And be open to ANYTHING that gets thrown your
way.
What do you think your greatest challenges will be as Musical Director of
Vertigo Theatreʼs production of SWEENEY TODD
With a smaller cast, it will be interesting to see how we achieve the sound that a
larger ensemble would bring. But with this cast of astonishing, talented actors, I
think we'll be just fine. My biggest challenge will likely be stamina – it's a tough,
nuanced, and difficult score, but a more satisfying one than most. Probably time
to get to the gym!

What advice could you offer to young people who are considering a career
in musical theatre?
Want this more than anything else in your life, and be prepared to be consumed
by it. Acting is a 24-hour a day job. Get every ounce of training and technique
you can – musical, acting, dancing. And know that you have to listen to
everything at all times; you never know when something you hear (or see) will
totally change your approach and broaden your scope. The learning never ends.

It's not an easy life, but it can be a most fulfilling one, and to all of you who decide
to take the leap, my very best wishes.

PRE-SHOW ACTIVITIES

The Industrial Revolution

The term “Industrial Revolution” was first used to describe a major period of
technological and economic change in Britain during the late 18th and 19th
centuries. The play SWEENEY TODD is set in mid-19th century London. In order
to get a sense of the world of the play, have students research that era. Below
are some suggested topics.
a) Investigate conditions (i.e. poor local governments, problems of housing, water
supply, fire and police protection, and unemployment due to mechanization) that
affected workersʼ lives outside the factory during the Industrial Revolution.
b) What was the general quality and the supply of food in mid-19th century
London?
c) What was happening in London during the period in which SWEENEY TODD
is set? Who was the ruling monarch? What was happening in religion and the
arts?
d) How did the rich live during this period?
e) What did London look, smell and sound like during this period?
f) What was the criminal justice system like and was it the same for all?
g) Why were the mentally ill punished by being put into asylums rather than
treatment facilities? How were they regarded at the time?
h) What kind of health care was available to the wealthy residents of London?
What about the rest of the population?
i) Why were prisoners sent to Australia?
j) Research other tales of murderers haunting the streets of mid-19th century
London. Why did those tales arise and why do they continue to hold our interest?

Song is Text
In musical theatre, when a character sings it is usually because the emotions are
so heightened that merely speaking the words is not enough. Just as extensive
preparation must be done for a scene or a monologue, so must it be done to
prepare a song. Examining the text of a song involves the character knowing the
given circumstances, determining the actions and objectives, fighting obstacles to
get what you want, acknowledging the emotions, and, of course, telling the story.
Often this work is done in the context of a play; however, not always. In some
cases, the world of the song must be created. A really useful way to begin is to
examine and prepare the text of the song as a spoken monologue.
Below are some of the lyrics to the song, No Place Like London, which is sung
near the beginning of the play by Sweeney Todd. Have students prepare and
present the text as a dramatic monologue.
Thereʼs a hole in the world
Like a great black pit
And the vermin of the world
Inhabit it
And its morals arenʼt worth
What a pig could spit
And it goes by the name of London.

At the top of the hole

Sit the privileged few
Making mock of the vermin
In the lower zoo,
Turning beauty into filth and greed.
I too
Have sailed the world and seen its wonders,
For the cruelty of men
Is as wondrous as Peru,
But thereʼs no place like London!

There was a barber and his wife,

And she was beautiful.
A foolish barber and his wife.
She was his reason and his life,
And she was beautiful.
And she was virtuous.
And he was –
Naïve.
 There was another man who saw
That she was beautiful,
A pious vulture of the law
Who with a gesture of his claw
Removed the barber from his plate.
Then there was nothing but to wait
And she would fall,
So soft,
So young,
So lost,
And oh, so beautiful!

Dumb Show
Dumb Show is a traditional term for pantomime in drama, actions presented by
actors onstage without spoken dialogue. The term is most often used in regard to
medieval drama and English Renaissance theatre, although it may apply in other
contexts, such as pantomime in Kabuki theatre.
The most famous dumb show in English literature occurs in Shakespeareʼs
HAMLET Act III scene ii in the play within a play staged by Prince Hamlet and the
players at Elsinore Castle for King Claudius.
In SWEENEY TODD, a dumb show is enacted by the company as Mrs. Lovett
describes the horrific fates of Sweeneyʼs wife and daughter after he is wrongfully
sent to prison in Australia. Sondheim uses the dumb show in order to
demonstrate his charactersʼ motives and responses and also to develop the
major themes of the story.
Brainstorm with your students to come up with a list of stories from a variety of
sources that could be told in a dramatic dumb show. Encourage them to think
about stories in which the stakes are high, there is a lot of tension, and some of
the characters might be at great risk by the behaviour of others.
In small groups, have students plan, rehearse and then present their dumb
shows. Music, sound effects and perhaps simple costumes may also be used to
enhance the presentations.

Play Themes
Prior to seeing SWEENEY TODD, THE DEMON BARBER OF FLEET STREET
at Vertigo Theatre, have students discuss their feelings and impressions of the
following topics and themes.
Revenge
Love
Victorian England
Corruption
Cannibalism
Innocence versus Cynicism
Wrongful Imprisonment
Winning and Losing
Law, Fairness and Justice
Loyalty
Ethics
Ask each student to select the topic or theme that resonates the most with him or
her and write a short scene, story, poem or song using it as the inspiration. As an
alternative, they may wish to create a piece of artwork to demonstrate the
feelings and impressions evoked by the topic or theme.

POST-SHOW ACTIVITIES

Discussion Topics
1/ What would you say are the main themes in SWEENEY TODD and how are
they demonstrated by the behaviours of the characters in the play?
2/ What is the significance of the graves and the gravediggers in the opening of
the play?
3/ Why do you think organ music is used at the beginning of the piece? What
impression does it create?
4/ The songThe Ballad of Sweeney Todd is repeated at various times throughout
the show. What is the effect of this repetition? Is it important to the theme of the
story? How?
5/ Is Sweeneyʼs desire for revenge justified? Is revenge ever justified? How else
could he have sought retribution?
6/ Why did Mrs. Lovett use Sweeneyʼs victims as the filling for her meat pies?
How did you feel about that? Why do you think her pies were so popular?
7/ At the end of the play, it is suggested that the desire for revenge is universal.
Do you agree or disagree? Why?
8/ What is the relationship between humour and tragedy? Is that relationship
evident in SWEENEY TODD? Give some examples.
9/ How do you think the characters in the play could have been influenced by the
Industrial Revolution and the social consequences that went along with it?
10/ Are there any warnings or lessons for our modern-day society in the tale of
SWEENEY TODD?
Inner Monologue
An inner monologue can be described as what is going on in a characterʼs head
but not spoken aloud. Actors often create these for themselves as part of their
ʻactor homeworkʼ in order to delve deeper into the minds, hearts and souls of
their characters to further understand and embody them.
Choose one of the following situations from SWEENEY TODD and write an inner
monologue expressing what you think the character might have been thinking
and feeling.
a) Sweeney Todd, the night before he arrived back in London after his return
from exile.
b) Sweeney Todd, immediately after he hears Mrs. Lovettʼs explanation of the
fate of his wife and daughter and rediscovers his razors.
c) Anthony, after he has fallen in love with Johanna and seen the Beadle strangle
the bird.
d) Mrs. Lovett, after Anthony asks permission to bring Johanna to Sweeneyʼs
shop.
e) Judge Turpin, after he hears Anthony speak of his plan to elope with Johanna.
f) Tobias, when he is resting in the kitchen after a busy night of serving meat pies
in Mrs. Lovettʼs establishment.
g) Johanna, as she sits in the asylum.
h) The Beadle, when he is sitting at the harmonium, waiting for Mrs. Lovett.
i) The Beggar Woman, when she re-enters the barbershop immediately before
Sweeney kills her.
j) Tobias, when he is alone in the basement with the evidence of the crimes being
committed by Sweeney.
k) Mrs. Lovett, when she realizes that Sweeney has killed the Beggar Woman.
l) Sweeney, when he realizes he has inadvertently murdered his wife.

Pitch Your Screenplay

Are students able to tell the story of SWEENEY TODD in one or two sentences?
One way to find out is to have them assume the role of a screenwriter pitching
the idea of adapting the play for the big screen to prospective producers.
Pitching a screenplay idea requires the writer to summarize the story in one or
two concise sentences, called a logline. The logline, or pitch must capture the
audienceʼs interest, make the listener want to read the script and ultimately make
the movie.
Have students follow the steps outlined below to create their own loglines to pitch
their versions of the SWEENEY TODD film.
1/ Introduce the main character. Who the screenplay is about is a key element of
the pitch. Give the listener insight into any interesting personality quirks the
character may have. Use adjectives to paint the picture.
2/ Set the stage for the movie. Describe where the story takes place as briefly yet
as vividly as possible.
3/ Describe what the main character wants. The characterʼs goal is what drives
the action of the movie. If the character doesnʼt want anything, there is no action
and therefore no momentum.
4/ State how the character intends to reach his goal. What action will he take?
5/ Explain what obstacles stand in the way of the character reaching his goal.
Conflict is essential in a movie, as in any good play. If the character faces no
opposition, the movie will be over in mere minutes. Clearly state what the
character is up against. For example: “A hard-nosed cop, in a race against time,
must stop a group of bank robbers who have taken his daughter hostage.”

Revenge is Sweet?
The free online dictionary defines the noun revenge as the act of retaliating for
wrongs or injury received: vengeance.
In the Epilogue of SWEENEY TODD, the company sings:
Attend the tale of Sweeney Todd!
He served a dark and hungry god!
To seek revenge may lead to hell,
But everyone does it, and seldom as well
As Sweeney,
As Sweeney Todd,
The Demon Barber of Fleet …
… Street!
Divide students into groups and assign each group one of the following questions
on the theme of revenge relating to the play. Students will then brainstorm and jot
down their ideas. When all the groups are done, each one will then share their
impressions, thoughts and feelings.
1/Sweeney Todd is portrayed as an example of a good, simple man whose life
changes forever due to a corrupt social order. What are some other examples of
main characters in this situation in literature, plays, film or television?
2/ Mahatma Gandhi said, “An eye for an eye will only make the whole world
blind.” How does this quote relate to the play, SWEENEY TODD?
3/ Is Sweeneyʼs desire for revenge justified? Is revenge ever justified? How else
might he have sought retribution?
4/ Albert Schweitzer said, “Revenge … is like a rolling stone, which, when a man
hath forced up a hill, will return upon him with a greater violence, and break those
bones whose sinews gave it motion.” How does this quote relate to Sweeney
Toddʼs journey in the play?
5/ Sweeney Todd went from being a good man, husband and father to a crazed
murderer seeking revenge for the wrongs he suffered. What are some examples
of real life parallels?
6/ How does Sweeneyʼs brand of justice compare to the kind of justice to which
he had been subjected? Is one morally or ethically superior to the other?
7/How does Sweeneyʼs increasing inability to change his situation show in his
behaviour throughout the story?
8/ How is Sweeney Todd like other serial killers in history who express a sense of
powerlessness through rage?
9/ How and why did Sweeney make the shift from his personal vendetta to taking
on all of humanity as his enemy? What effect did this have on the way his
character was perceived?
10/At the end of the play it is suggested that the desire for revenge is universal?
Do you agree / disagree? Are there any situations in which seeking and
achieving revenge is acceptable?
Student Play Review
We would love to know what your students thought of our production of
SWEENEY TODD. Please encourage them to write and send us copies of their
play reviews. If they wish to be entered into a draw to receive 2 tickets to one of
our upcoming productions, they must include the following:
First name
Last name initial only
Grade
School name
Teacher contact name
School phone number
Date of the performance attended
Please fax 403-263-1611 or email play reports to:
nathan.pronyshyn@vertigotheatre.com
Once the draw is done, we will contact you and the school to let the student
know. The winning student may then get in touch with us regarding how and
when to pick up the tickets.

Before students write their reviews of SWEENEY TODD, talk about the role of a
critic. Is the point of a review to merely describe the play and tell the story, or
offer opinions on the production?
You may wish to offer the following as a guideline for student play reviews.

Some play and film reviews offer a rating in the form of a number of stars (*),
with one star representing a weak rating and five stars representing a perfect
one.
Assign your review of SWEENEY TODD the number of stars you think it merits.
Write a headline for your review that sums up your thoughts and feelings about
the production.
In your opening statement, state your expectations before you attended the
performance and whether or not they were met.
Follow with comments on some or all of the following play elements:
- music
- style, story and themes of the play
- conflicts in the play
- direction
- acting
- scenic design
- costume design
- make-up design (if applicable)
- lighting and sound
-special effects
In your closing statement, include any final thoughts on the production and
whether you would recommend it.
 TEACHER EVALUATION

Your feedback is very important to us! Our series are growing rapidly and the
information you provide will help us to determine future programming, booking
procedures and educational content. Return by fax to 403-263-1611 or email to
nathan.pronyshyn@vertigotheatre.com

PLAY & DATE: SCHOOL:

TEACHER NAME: GRADE(S):

Please rate the following from 1-10 (1=Poor, 5=Good, 10=Excellent)

1) Booking Procedure
(poor) 1 2 3 4 5 6 7 8 9 10 (excellent)

2) Affordability & Accessibility (Price, Bussing, etc)

1 2 3 4 5 6 7 8 9 10

3) Show Start Times & Performance Duration

1 2 3 4 5 6 7 8 9 10

4) Study Guide Material

1 2 3 4 5 6 7 8 9 10

5) Production Value (Set, Costume, Props etc.)

1 2 3 4 5 6 7 8 9 10

6) Educational Value: (Was the production successful as a learning experience

for your students?)
1 2 3 4 5 6 7 8 9 10

7) Entertainment Value (Did the production engage your students?)

1 2 3 4 5 6 7 8 9 10

8) Overall Experience
1 2 3 4 5 6 7 8 9 10

Comments and suggestions:

Thank you for taking the time to give us your invaluable input!
2011/12 SPONSORS and Government Funders

Vertigo Mystery Theatre

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Vertigo Mystery Theatre’s Sweeney Todd: The Demon Barber of Fleet Street 15
2012/2013 SUBSCRIPTIONS ON SALE NOW! 403.221.3708 www.vertigotheatre.com

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