-
(单词翻译:双击或拖选)
As 'Sweeney Todd' returns to Broadway, 4 Sweeneys dish about the difficult role
Stephen Sondheim's 1979 masterpiece, Sweeney Todd: The Demon2 Barber of Fleet Street, is back on Broadway. The tale of a murderous barber, who teams up with a pie shop owner in 19th century London, the show is gruesome, passionate3 and outrageously4 funny. And the lavish5 revival6, featuring Josh Groban and Annaleigh Ashford, a cast of 25 and an orchestra of 26, recently opened to rave7 reviews.
Since its premiere 44 years ago, Sweeney Todd has returned to New York in various guises8 – small off-Broadway productions, operatic and concert versions, and a Broadway revival, where the actors performed their own accompaniment. So, there is a fraternity of Sweeneys, who can share stories and trade tips about playing the famously difficult role.
Four of them came to NPR's New York bureau for a wide-ranging conversation: pop singer Josh Groban, who's only recently taken on the part; Michael Cerveris, who fronted the revival in 2005, playing guitar, while Patti LuPone played the tuba; Norm Lewis, who's played the role three times, most recently off-Broadway in an immersive production set in a pie shop, and Len Cariou, the original Sweeney.
The three younger Sweeneys, naturally, were interested to hear Cariou talk about the first production. He was in Manitoba, Canada, when original director Hal Prince sent him the script. "And got home and then read it and said 'they're out of their minds. This is crazy,'" Cariou recalls, laughing.
Crazy, because the show is about a barber who slits9 the throats of his customers. And his partner in crime, Mrs. Lovett, disposes of the bodies by baking them into meat pies. But Cariou had worked with Stephen Sondheim before, on A Little Night Music. "And thought, 'Well. You know, if he writes a really romantic score, this might be interesting,'" he remembers, adding: "The guy's pretty smart, you know."
And Sondheim wrote a really romantic score. Cariou went to the composer's house for a preview, where both were so nervous, they shared a joint10, before Sondheim demonstrated a few songs. Cariou says Sondheim showed him how "The Ballad11 of Sweeney Todd" used the "Dies Irae" from the Catholic mass for the dead. Then, he played an early song in the show, "The Barber and His Wife."
"And I just started to cry," says Cariou, "I said 'what is going on here?' I said, 'Steve that is an incredible melody.'" When Sondheim played the act one finale, a wickedly funny song called "A Little Priest," "I was on the floor laughing," remembers the actor, "and he said, 'It gets better!'" Cariou was hooked.
Norm Lewis and Carolee Carmello in the 2017 off-Broadway production of Sweeney Todd.
Joan Marcus
All four Sweeneys talked about a pivotal moment in the show; the song "My Friends," a tender ballad that Sweeney sings to his razors. Here's the set up: the corrupt12 Judge Turpin had lusted13 after Sweeney's wife, so he had him falsely convicted and sent to Australia. But Sweeney's escaped. Now, back in London thinking his wife dead and his daughter Johanna captive in the judge's house, Sweeney is determined14 to get his revenge. Then, Mrs. Lovett gives him the perfect instrument. "And says, 'Oh, by the way. I have your razors,' " Cariou describes, " 'I saved them for you.' "
"All of these stories are starting to develop," says Josh Groban. "These seeds are being planted that are maniacal15. But the music itself is some of the most lush and romantic that I've ever heard. And "My Friends," I think, is the first opportunity as Sweeney to lean into that romanticism."
"Musically, it's sort of opening a door into a part of Sweeney that you haven't seen yet," explains Michael Cerveris. "You know, there is this loving person in him and there's a tenderness that you see in that song, in relation to these cold pieces of steel."
Cerveris adds: "I sort of felt if he had come back and found Johanna and his wife and been allowed to, he would have just left town. Like, I didn't feel like he was there to exact revenge, necessarily. But in 'My Friends' I think you see that that potential version of him."
"Yeah. I've always said to people," says Norm Lewis laughing, "if he had found Johanna and his wife. Curtain!"
But Len Cariou's not so sure. "He was going to have his pound of flesh," Cariou explains, "that was his motivation. That's what got him from Australia back to London ... was Turpin."
As the song goes on, Sweeney focuses on his razors, but Mrs. Lovett focuses on him. "There's a survivor16 element to Lovett," says Groban. "And they're both looking for a means to achieve what they need. These duets are crafted so brilliantly; to be able to show both of those plans happening simultaneously17."
Cariou recalls the excitement of the original rehearsal18 room, where his Mrs. Lovett was Angela Lansbury. "Almost immediately everybody kind of sat up," says Cariou. "Something was happening. We knew it. We didn't quite know what it was, but we knew that something was going on here and that this may be the most exciting piece of theater that we'd ever been a part of."
Now, of course, Sweeney Todd is in the pantheon of musical theater. "I've always said that Stephen Sondheim was the musical theater Shakespeare," explains Norm Lewis. "And this role has always, for me, been the Hamlet of musical theater, because all the baritones always want to play this role and put their spin on it."
And all four of these actors acknowledge it's exhausting playing a murderous sociopath, while dealing19 with stage blood, a mechanical barber chair and singing complex music. Josh Groban says Michael Cerveris gave him tips. "Michael and I had a drink before we started previews," Groban recalls, "and I was lucky enough to kind of sit with him and get some wonderful advice and support ... And he said, 'just wash it off in the sink, man. Like, when you take the makeup20 off, take it all off, you know?'"
The musical's success, in 1979, was far from inevitable21. Len Cariou remembers that the original company had never finished technical rehearsals22 before the first performance. They didn't know what to expect. "When it was over, people really reacted to it," says Cariou. "And I came backstage to my dressing23 room, and Sondheim was standing24 outside of it, and he said, 'They understood it. They f------ understood it.' And we had a great big hug."

1
transcript
![]() |
|
n.抄本,誊本,副本,肄业证书 | |
参考例句: |
|
|
2
demon
![]() |
|
n.魔鬼,恶魔 | |
参考例句: |
|
|
3
passionate
![]() |
|
adj.热情的,热烈的,激昂的,易动情的,易怒的,性情暴躁的 | |
参考例句: |
|
|
4
outrageously
![]() |
|
凶残地; 肆无忌惮地; 令人不能容忍地; 不寻常地 | |
参考例句: |
|
|
5
lavish
![]() |
|
adj.无节制的;浪费的;vt.慷慨地给予,挥霍 | |
参考例句: |
|
|
6
revival
![]() |
|
n.复兴,复苏,(精力、活力等的)重振 | |
参考例句: |
|
|
7
rave
![]() |
|
vi.胡言乱语;热衷谈论;n.热情赞扬 | |
参考例句: |
|
|
8
guises
![]() |
|
n.外观,伪装( guise的名词复数 )v.外观,伪装( guise的第三人称单数 ) | |
参考例句: |
|
|
9
slits
![]() |
|
n.狭长的口子,裂缝( slit的名词复数 )v.切开,撕开( slit的第三人称单数 );在…上开狭长口子 | |
参考例句: |
|
|
10
joint
![]() |
|
adj.联合的,共同的;n.关节,接合处;v.连接,贴合 | |
参考例句: |
|
|
11
ballad
![]() |
|
n.歌谣,民谣,流行爱情歌曲 | |
参考例句: |
|
|
12
corrupt
![]() |
|
v.贿赂,收买;adj.腐败的,贪污的 | |
参考例句: |
|
|
13
lusted
![]() |
|
贪求(lust的过去式与过去分词形式) | |
参考例句: |
|
|
14
determined
![]() |
|
adj.坚定的;有决心的 | |
参考例句: |
|
|
15
maniacal
![]() |
|
adj.发疯的 | |
参考例句: |
|
|
16
survivor
![]() |
|
n.生存者,残存者,幸存者 | |
参考例句: |
|
|
17
simultaneously
![]() |
|
adv.同时发生地,同时进行地 | |
参考例句: |
|
|
18
rehearsal
![]() |
|
n.排练,排演;练习 | |
参考例句: |
|
|
19
dealing
![]() |
|
n.经商方法,待人态度 | |
参考例句: |
|
|
20
makeup
![]() |
|
n.组织;性格;化装品 | |
参考例句: |
|
|
21
inevitable
![]() |
|
adj.不可避免的,必然发生的 | |
参考例句: |
|
|
22
rehearsals
![]() |
|
n.练习( rehearsal的名词复数 );排练;复述;重复 | |
参考例句: |
|
|
23
dressing
![]() |
|
n.(食物)调料;包扎伤口的用品,敷料 | |
参考例句: |
|
|
24
standing
![]() |
|
n.持续,地位;adj.永久的,不动的,直立的,不流动的 | |
参考例句: |
|
|