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The musical was a massive hit and went on to enjoy numerous Broadway and West End revivals.
Then came the play by Christopher Bond in 1973, which gave us the plot that Sondheim set to music in his Tony award-winning 1979 production. In the film, Johanna is not his daughter and just a young woman he perves over for 90 minutes. In 1936 he made his first on-screen appearance, played by the actor Todd Slaughter – yes, his real name. The chair was there from the beginning throat slitting was added later. He played a much bigger part in the play that came out a couple of years later. The subplot with Todd, Mrs Lovett (who actually makes some of the best pies in London) and Toby was by far the most interesting part of the series. In the series, Todd was not even the main character, and the spotlight was stolen by a young couple who seem a lot like Johanna and Anthony. No one was under the illusion they were making any high art, and authorship was generally not as big of a deal then as it is now. The authorship of each regular installment was always unclear, and is usually credited to a handful of individuals, among them our friend Prest.
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In 1846, Todd made his first print appearance by name, in the highly entertaining penny dreadful serial The String of Pearls. Both times, he did so with an assured confidence that his readers would understand the reference. Whether it really happened or not, the story was already embedded in the public consciousness when Dickens alluded to “cat pies” in his Pickwick Papers serial in 1836, and then when he made an off-hand reference to “preparers of cannibalistic pies” in Martin Chuzzlewit in 1843. Someone called Thomas Peckett Prest published a story in the penny dreadful Tell-Tale Magazine based on this version. Some argue that the legend began as early as the 14th century, when a French ballad told of a murderous barber who fed his victims to a pastry chef. Peter Haining has made a career out of writing books claiming to provide proof of his existence, and yet the historical community finds nothing compelling in his arguments. There is no evidence to suggest that Todd was a real person, at least not in the way he is depicted. His echoes are found in dozens of direct adaptations, while it is impossible to say how many works of fiction would not have been conceivable without the demon barber acting as their precursor. It is considered by many to be the first real urban legend, a product of the anxiety of being alive during London’s industrial revolution. More importantly, though, I wanted to use this as an entryway to talking about the Sweeney Todd legend, as it is such an important part of the history of horror fiction. Burton is, so far, the only person to film the Sondheim play. His adaptation is also the most faithful in spirit to the penny dreadful, which I will discuss below. Sondheim’s Sweeney Todd is by far my favourite horror musical, so it seemed to fit the bill. Granted, that was probably over a year ago. First of all, we’ve had some off-topic discussions in the past about our favourite musicals, so I thought this seemed like a group that would be open to it. A spate of killings follow - which sees Regan take on both the criminals and the hierarchy of the Metropolitan Police and British security services.In the absence of a podcast, I’ll explain here why I chose this film. When Regan investigates the mysterious death of a prostitute as a favour to one of his informants, he becomes aware that Baker and McQueen might be involved. Baker is the rising star of government, regarded a future prime minister, who is closely controlled by his urbane, manipulative American press secretary Elliot McQueen (Barry Foster). One of the leading members of the government, Charles Baker (Ian Bannen) is about to secure a huge deal with OPEC stabilising the world oil market and boosting Britain's position within it.
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Based on the TV series the film follows DI Regan and DS Carter as they became embroiled in a deadly political scandal.