Music and Meaning: Sweeney Todd's - There's No Place Like London

Finding Meaning in Stephen Sondheim’s Sweeney Todd: There’s No Place Like London

Sweeney Todd is a fictional character known as “The Demon Barber of Fleet Street.” Sweeney’s story has been published in various English works beginning in 1846. Various musical versions have been created; usually based on the most common version of the story (by Christopher Bond) in which Sweeney Todd murders his victims with a straight razor and then allows the remains to be sold as meat pies.

The original musical Sweeney Todd was composed by Stephen Sondheim and premiered in 1979 starring Len Cariou and Angela Lansbury in the title roles.[1] The movie version, starring Johnny Depp and Helen Bohnam Carter, premiered in 2007 and is based on the Tony Award winning Sondheim musical.

The movie version of Sweeney Todd can be described as an “essentialist version” of the “Black Operetta.” [2] As is the case with many a movie musical, the songs, plot, and dialogue have all been edited; some for time, others for content, and to better ease the transition of medium from the stage to the screen. This has some effect on the meanings of the songs, however the omissions and changes made are not considerable enough to dismiss the songs in this version as lacking significance.

Sweeney Todd is a musical with meaning infused in to almost every portion of the musical. Each song has a variety of musical topics (for example, greed, pride, love, joy, hate, longing, and loathing). Each topic is defined by the musical motives placed in the lyrics and the instrumental accompaniment. The motives can act independently or in support of each other in order to better convey meaning. It is a musical in which the majority of musical structures (if not all) in a piece are able to acquire meaning; in some manner, and in some way. Simultaneously, there is a thread (il filo) that allows the expressive content to be processed holistically through the use of the musical motives and figures. In addition, the expression of human behavior is intimately woven into the form. This binds individual ideas into one thread of “connection and expression.” [3]

In order to find meaning in Sweeney Todd it is necessary to take a closer examination of the ways in which words, music, and topic are connected. Through closer examination of the work, it is possible to see the signs and the thread that binds the ideas together. For the purposes of this paper, meaning will be shown using but one song as example: There’s No Place Like London; from the 2007 film version as basis for further examination of musical meaning.

The Tale of Sweeney Todd: Plot Summary

In his previous life, Todd was known as the barber Benjamin Barker. His life in London was ruined when Judge Turpin, “a pious vulture of the law” [4] saw Lucy, Barker’s wife, and decided he would have her for himself. Turpin had Barker arrested, trumped up charges, then had him exiled for life to Botany Bay.[5]

Years later, Benjamin Barker, now known as Sweeney Todd, returns to London ready to exact his revenge on the unsuspecting judge. Upon his return he set up his shop on Fleet street over a pie shop owned and operated by Mrs. Lovett (who proudly makes the worst pies in London, due to the lack of meat) the first person in the musical who is keenly aware of Todd’s/Barker’s past. Todd learns from Mrs. Lovett that Lucy has poisoned herself in grief. Turpin has adopted her daughter, baby Johanna, and raised her as his own. From this point, Todd seems even more committed to exacting his revenge.

Todd follows the judge to a busy London street where he then challenges a rival barber, Adolfo Pirelli, to a contest in order to win the favor of the judge and lure him to his shop. Todd does indeed win the contest, but finds his plot is in jeopardy when his rival threatens to expose his past. Todd then murders Perelli. Upon finding the body, Mrs. Lovett decides it’s an “awful waste” [6] to dispose of the body “what with the price of meat and all.” [7] Instead, she proposes that he slaughters more victims, she grinds up the remains, and bakes them into pies. Todd agrees. Mrs. Lovett also takes in an orphan boy, Tobias Ragg, after Sweeney killed Pirelli, Ragg's previous guardian. Sweeney kills more victims, Mrs. Lovett grinds up the victims and bakes them into pies. The pies are then eaten and enjoyed by unsuspecting London patrons and the murderous pair enjoy much financial success.

Meanwhile, Todd’s daughter Johanna has become a young woman and falls in love with a sailor, Anthony, the man who rescued Todd while on the ocean. Anthony attempts to steal her away from Judge Turpin, who has hidden Johanna away in an insane asylum. Johanna escapes with Antony, who hides Johanna in Todd’s shop. Lucy, crazy from the loss, the poison, and years as a London beggar woman, wanders into Todd’s shop. Ironically, Todd doesn’t recognize her and kills his beloved Lucy.

The judge follows into Todd’s shop, searching for the young Johanna. Todd seizes the opportunity to kill the Judge and exact his revenge. Upon realizing that he has also killed Lucy, Todd kills Mrs. Lovett for not disclosing that his wife was alive. Sullen and distraught, Todd is finally murdered by the orphan Tobias Ragg. Johanna, Anthony, and Ragg are the only characters who survive.

Why focus examination of meaning on the 2007 movie of Sweeney Todd: There’s No Place Like London?

While there are many versions of Sweeney Todd available for evaluation and examination, the 2007 movie version is the one of the most current, succinct, and accessible by audiences. The stage productions (from the early versions created in 1979 to modern stage versions re-imagined in different languages (including modern English, Korean, and Japanese)) are wonderful, but they are also longer and laden with content that is not necessarily needed in order to convey the meanings associated with the song. The convictions (and behaviors) of the characters do not significantly change. Neither do the meanings; with or without the omitted sections of music and text.

With regard to the musical arrangements, there are some noticeable differences in the orchestration, order of sections, and omission of selected material from the movie’s musical score that can be found when examining previous productions of Sweeney Todd. These differences are not significant enough to substantively change the meanings found in the songs. The same motives and themes are present in all versions of Sweeney Todd (and There’s No Place Like London) albeit presented though in different orders. [8]

About There’s No Place Like London (Movie Version)

There’s No Place Like London is the first song of the movie. As it begins both Sweeney and Antony (who rescued Sweeney from the ocean) appear on a boat that is returning to London. As the song develops Sweeney shares his story with Antony; Sweeney’s regret, resentment, rage, and longing constantly juxtaposed against Antony’s joy and naivety. There’s No Place Like London serves as important expositional device in that presents a rationale for Sweeney’s return to London, illustrates the reasons for his sadness, and presents the validation for him to take the actions that will soon determine his final course. The breadth of interpretations of meaning can be addressed from two different perspectives; through the application of semiotics or through the connective thread that the ideas together.

Defining Meaning in There’s No Place Like London: Agawu Perspective - Summary

Chapter two of Kofi Agawu's book, Playing With Signs: A Semiotic Interpretation of Classic Music discusses musical topics through semiotics (the study of signs) in which the majority of musical structures (if not all) in a piece represent something; in some manner, and in some way. This interpretation of musical topics can be assigned to There’s No Place Like London, and in fact, most of the musical, Sweeney Todd as none of the musical selections is presented in an autonomous and abstract manner.

The musical topics in There’s No Place Like London are best understood when the listener possesses a healthy understanding of the story in order for the signs to best be conveyed. Each of Agawu’s main points about musical meaning can be found within the work.

Musical topics exist as signs consisting of signifier and the signified [9] — In this case, signifiers are represented by the melodies, rhythms, harmonies, and lyrics. The signified is expressed as joy, longing, anger, beauty, or some other human emotion. Antony’s signifies joy and naivevity; Sweeney signifies bitterness and hatred

Understanding of musical topics are dependent on the base knowledge of the listener who must be familiar with the constructs, devices, and manner in which topics were constructed in order to comprehend the topic [10] — For understanding of this song, and for most of the musical, the listener must be aware of the story that is supported by the music. Working to convey meaning are methods that are musical, and methods that are not exclusively non-musical that are employed through the song (and the entire musical) in order to provide the listener a more complete understanding of the work. To make the listener more familiar with the constructs, devices, and manner of the work, Sweeney Todd employs both musical and lyrical motives repeatedly in smaller sections of a song, or developed across larger sections of the entire work.

Every piece of music has a topic, but not every topic has (or can be) represented through music [11] — In There’s No Place Like London, each section of music does indeed have a topic. Some topics that have been expressed are unable to be clearly defined through music are more clearly clarified through human language. There are several examples of this in the song, the clearest being the recitative like moments of Sweeney’s rants.

Musical works can support a number of topics. Multiple topics require good quality constructs acting as support in order to convey meaning [12] — There’s No Place Like London indeed supports multiple topics. The song utilizes many musical motives (in both the lyrics and instrumental music) as well as motives in the language in order to convey meaning. Interestingly, in the song there also exists simultaneous expressions of multiple topics that are intensified (but not necessarily clarified) through its unique combination of lyrics and instrumental music. This song supports three main topics; London: Joy and Hate, (2) London: Longing, Regret, and Resentment, and (3) London: Calculation and Action.

Topics can be presented individually, or can act in support of each other [13] — Topics in There’s No Place Like London are both presented individually and also are acting in support of each other in order to convey meaning. Examining the intensive repetition of the word “beautiful” during the song’s second topic and the multiple meanings attached will provide a framework for understanding of both the supportive and independent implementation of topics.

The organization of topics can give clues to their meaning.[14] — In this song the organization of topics is essential to conveying meaning. Many topics, as well as associated motives, are juxtaposed against each other or set in opposition to one another, in order to illustrate the differences between characters, attitudes, and additional signified things.

Meaning in There’s No Place Like London: Allenbrook Perspective

Within There’s No Place Like London also exists the filo, (the thread that holds it all together). This expression of meaning is discussed in Wye Allenbrook’s article "Two Threads through the Labyrinth;" Source Readings in Music History: The Late Eighteenth Century. The filo (“thread”)[15] is not expressed as any one particular musical idea. It is expressed rather as the most important thing binding portions of the piece. Just as in other works, There’s No Place Like London has a thread of “connection and expression”[16] that binds individual ideas expressed in the music to allow thoughts and ideas to be expressed through poetry, stories, and through song. It is so connected that expression of human behavior is intimately woven into the form. In this way, expressive content could be processed holistically with musical motives and figures in order to better convey the associated meanings.

The filo in this case is character driven; sections of music are connected by Sweeney’s narrative and by pronouncements he conducts within his varied emotional states. Examine for a moment the ways in which Sweeny’s story is told. Musical topics are connected through Sweeney’s emotions, which serve to bond the contrasting sections of music together His first utterance is one of darkness (or according to the theme, one of hate) is juxtaposed against the brightness (or thematically, joy) that preceded it. From the point of entrance to the conclusion of the song Sweeney’s proclamations govern the tone of the piece. Interjections from Antony (the sailor) serve to further the exposition of Sweeney’s tale, and provide just enough contrast to Sweeney’s rants. Most evident from this examination is that within There’s No Place Like London, changes in topic, transitions, and other significant changes appear to be structured around Sweeney’s emotions, implemented through his musical topics, his motives, and the associated meanings.

Foundation of Meaning: Musical Topics in There’s No Place Like London [17]

The movie version There’s No Place Like London is presented in three topics; (1) London: Joy and Hate, (2) London: Longing, Regret, and Resentment, and (3) London: Calculation and Action. These three topics are defined though use of musical motives employed not only in the melody and rhythm of the lyrics, but also in the supporting musical accompaniment. These motives work in consort, supporting each other through the piece. It is these motives that are most effective in defining the topics and in conveying the intensity, as well as enabling transmission of Sweeney’s anguish to the audience. Additionally, it is the expression of human behavior, through these motives, that also determines the form of the piece. Effected through the tonal architecture of all parts, the use of varying rhythmic structures, the sudden changes in musical styles, and in the development of motives, the song acquires and conveys its meanings; in that sections are built in ways to express joy, disgust, anger and dejection, beauty, plotting, and other musical topics.

Dissecting the Topics: Topic 1 – London: Joy and Hate [18]

Topic 1 – London: Joy and Hate – is defined by several different motives. The song begins with a heroic joyful orchestral introduction of the vocal melody. When Antony enters, his melody is supported by a well defined instrumental motive (motive #1a). Antony declares with joy “There’s no place like London!” which is immediately countered with Sweeney’s proclamation of the same words “There’s no place like London!” Yet Sweeney is filled with hate and disgust, even though he says the exact same words as Antony. This sharp contrast can be identified in the music when comparing the motives. Antony’s melody (motive1a:1) is identical to the introduction played by the orchestra. Sweeney’s melody changes on the last note (motive1b:1). The change in timbre is as noticeable as the change in mood; Antony’s ending note is higher, sung happily and upbeat while Sweeney ending is lower, sung with bitterness and jaded.

The presentation of Antony and Sweeney as two counter personas is further explored though the addition of two new motives; motive #2 for gloom and motive #3 for anger and dejection. The first of the two (motive #2) allows Sweeney to discuss Antony’s naivety. The second (motive #3) facilitates the description of London as the “hole in the world like a great black pit” with morals that “aren't worth what a pig could spit.” Later, when Sweeney talks about the “world’s wonders”, he can use a variation on the original motive (motive #1b) to describe the “ugliness of men.” The similarities in motives are fundamental to defining the elements that act as signifier and those that act as signified. In this case, Antony signifies joy; Sweeney signifies hate. Antony lyrics signify elation and positivity; Sweeney’s lyrics signify revulsion and anger. The changes required to convey these emotions are slight, with minor differences in the motives implemented. It is a pattern that will not only continue through the song, but also will be implemented repeatedly through the entire musical.

Dissecting the Topics: Topic 2 – London: Longing, Regret and Resentment [19]

The second topic – London: Longing, Regret and Resentment – is one of the most complex topics of the song. In this section of the song, Sweeney shares the story of his past. We learn how Benjamin Barker, a “foolish barber”[20] lost Lucy, his “reason and his life”, to Judge Turpin, a “pious vulture of the law”[21], “who, with a gesture of his claw” stole his wife and child, then, sent him away. It is also in this section of music that we find the deeper complexities of the lyrics and motives used in the music.

One notable characteristic of this section of the song is the use of motives that are similar in sound, yet differ in their application and, of course, their meaning. The surface layer of text and music is clearly defined yet there is also a deeper layer with more complexities in meaning. For example, when does the word “beautiful” mean “beautiful”, and when does hat word acquire additional meaning? In There’s No Place London, the word “beautiful” can not only mean “beautiful”, but also can, and does however, hold deeper meanings when applied in different portions of this section of music. The first example, “There was a barber and his wife, and she was beautiful...”[22] is the simple meaning. Beautiful, in this case does mean “beautiful.” Examine the next phrase “a foolish barber and his wife. She was his reason and his life... and she was beautiful” and the word “beautiful” not only possesses its basic meaning, but also acquires a quality of longing. This can be felt as Sweeney continues to describe his lost love Lucy stating “she was virtuous, and he was naive.” The motives that support this interpretation are blatantly applied, placing emphasis on the words in their context. Each time the word “beautiful” is sung, the word itself is elongated and supported by its own motive (motive 4b – beautiful 1, motive # 4c – beautiful 2, and motive 4e – beautiful 3). Motive 4b and 4c are essentially the same; the second though (4c) is a one note extension of the first (4b). It is this minor difference that helps to facilitate the complexities in meaning.

Chart #1: Lyrics and Motives for Topic 2 (2:25 – 2:58) [23]
There was a barber and his wife [motive # 4a:1 - longing, regret]and she was beautiful... [motive # 4b – beautiful 1]a foolish barber and his wife. [motive # 4a - longing, regret]She was his reason and his life... [motive # 4b – beautiful 1]and she was beautiful [motive # 4c – beautiful 2, longing], and she was virtuousAnd he was naive. [motive # 4a:2 - longing, regret] – (in C minor)

These same techniques are implemented when Sweeney next talks about Judge Turpin as he “removed the barber from his plate.” The earlier motive (motive # 4c) for beautiful - longing and regret is used. Though the word beautiful is not said, the feeling of beautiful, with the association of longing and regret is present. At the climax of the section “So soft! So young! So lost and oh so beautiful!”, the loss is projected at its most extreme. The increase in intensity building to release in the to the final “beautiful” motive (motive # 4e) epitomizes the barber’s loss, and exemplifies his anguish.

Chart #2: Lyrics and Motives for Topic 2 (3:03 – 3:40) [24]
There was another man who saw [motive # 4a:1 - longing, regret]that she was beautiful... [motive # 4b – beautiful 1]
A pious vulture of the law [motive # 4a:1 - longing, regret]who, with a gesture of his claw [motive # 4b – beautiful 1]removed the barber from his plate! [motive # 4c – beautiful 2, resentment]Then there was nothing but to wait!And she would fall! [motive # 4d – loss, lament]So soft!So young!So lost and oh so beautiful! [motive # 4e – beautiful 3, extreme longing and loss]


Dissecting the Topics: Topic 3 – London: Calculation and Action [25]
London: Calculation and Action is the final topic in the piece; the tone of which can be clearly heard in the rhythm of the lyrics. Sweeney leaves Antony and heads off into the darkness when he utters the following words:

There's a hole in the world like a great black pitand it's filled with people who are filled with shit!And the vermin of the world inhabit it...[26]

The rhythm of the lyric is identical to a lyric appearing in the first topic.

There's a hole in the world like a great black pitand the vermin of the world inhabit itand its morals aren't worth what a pig could spit…[27]

The musical motive used (motive # 5) is one of action, supporting the motivation of Sweeney to exact his revenge on the Judge. The intricacy of the lyrics juxtaposed along the combinations of motive and theme can be experienced when listening to the entire piece.

There’s No Place Like London: Movie Version – Musical Topics and Motives [28] [29]

Topic 1: London – Joy and Hate

***Orchestra - introduction [theme #1a] ***

Antony: I have sailed the world, beheld its wonders [motive #1a – joy of London]From the Dardenelles, to the mountains of PeruBut there's no place like London! [motive #1a:1 – joy of London (end)]

Sweeney:No, there's no place like London. [motive #1b:1 – disgust of London (end)]

***Orchestra - transition [motive # 2 - gloom] ***

Antony: Mr. Todd?Sweeney:You are young. Life has been kind to you.You will learn.

***Orchestra - transition [motive # 3 – anger and dejection] ***


Sweeney:
There's a hole in the world like a great black pitand the vermin of the world inhabit itand its morals aren't worth what a pig could spitand it goes by the name of London.At the top of the hole sit the privileged fewMaking mock of the vermin in the lower zooturning beauty to filth and greed...

***Orchestra – transition [theme #1b] ***

I too have sailed the world and seen its wonders, [motive #1b – disgust of London]for the cruelty of men is as wondrous as Perubut there's no place like London! [motive #1b:1 – disgust of London]

Topic 2: London - London: Longing, Regret, and Resentment

***Orchestra – transition [theme # 4a – longing, regret and resentment] ***
***Orchestra – [motive # 4a:1 - longing, regret] ***

Antony (spoken): Is everything alright, Mr. Todd?
Sweeney (spoken):I beg your indulgence, Anthony. My mind is far from easy. In these once-familiar streets...I feel shadows, everywhere.

Antony (spoken): Shadows?Sweeney (spoken): Ghosts...
Sweeney (singing): There was a barber and his wife [motive # 4a:1 - longing, regret]and she was beautiful... [motive # 4b – beautiful 1]a foolish barber and his wife. [motive # 4a - longing, regret]She was his reason and his life... [motive # 4b – beautiful 1]and she was beautiful [motive # 4c – beautiful 2, longing], and she was virtuousAnd he was naive. [motive # 4a:2 - longing, regret] – (in C minor)
***Orchestra – transition [motive # 4a:1 - longing, regret]***

Sweeney (singing):
There was another man who saw [motive # 4a:1 - longing, regret]that she was beautiful... [motive # 4b – beautiful 1]
A pious vulture of the law [motive # 4a:1 - longing, regret]who, with a gesture of his claw [motive # 4b – beautiful 1]removed the barber from his plate! [motive # 4c – beautiful 2, resentment]Then there was nothing but to wait!And she would fall! [motive # 4d – loss, lament]So soft!So young!So lost and oh so beautiful! [motive # 4e – beautiful 3, extreme longing and loss] (fsus)
Antony (spoken): And the lady, sir? Did she succumb? [motive # 5 – thinking?]Sweeney (singing):
Oh, that was many years ago. [motive # 4a:1 - longing, regret]I doubt if anyone would know...

***Orchestra – continues [motive # 4a - longing, regret] ***

Sweeney (spoken): I'd like to thank you Anthony. If you hadn't spotted me, I'd be lost on the ocean still.Antony (spoken):Will I see you again?Sweeney (spoken): You might find me if you like; around Fleet Street, I wouldn't wonder.

Antony (spoken): Until then, my friend.


Topic 3: London – Calculation and Action

[motive # 5 – calculation, and action]

Sweeney (whispered):There's a hole in the world like a great black pitand it's filled with people who are filled with shit!And the vermin of the world inhabit it...


Final Summary

As Sweeney Todd is a musical with meaning infused in to almost every portion of the musical, the variety of musical topics is defined by the musical motives placed in the lyrics and the instrumental accompaniment. The specific elements chosen to define the
topics leave little question to the intent and spirit of the meanings. While motives can act
independently or in support of each other, most musical structures (if not all) acquire meaning; in some manner, and in some way. Filo binds expressive content to be
processed holistically; musical motives bind individual ideas into one thread that illustrates “the succession and connection of ideas.” [30]

Take a closer examination of the ways in which words, music, and topic are
connected in Sweeney Todd; it is possible to see both the individual signs and the thread that binds ideas together to clearly express meaning

Resources

These resources are available to assist you in gaining a deeper understanding of the versions of Sweeney Todd “There’s No Place Like London”, and using them to interpret meaning. While there is no significant difference between each selection there are slight variations between the available versions of Sweeney Todd. URLs (web links) and explanations have been provided below:

1. There’s No Place Like London – Movie Version [31]
This is the version seen in theatres starring Johnny Depp and Helen Bohnam Carter. The movie is an “essentialist” version of the work created for the stage and selects carefully the details about Sweeney’s character and situation. The movie was in theatres in early 2007 and is currently available on DVD.

The song “There’s No Place Like London” is also edited heavily, with cuts and omissions made both for story and also for time considerations.

This version of “There’s No Place Like London” is sung by Jamey Campbell Bower (Antony) and Johnny Depp (Sweeney).

URL: http://www.youtube.com/watch?v=hCZk5TMnGgg


2. There’s No Place Like London – Stage Version (for TV) [32]
This version of the play stars George Hearn and Angela Lansbury in the title roles. It is closely modeled after the original play, but some scenes (for example, Judge Turpin flogging himself in a sadomastic rant) have been removed to accommodate the broadcast standards of the time. This was originally broadcast on TV in 1982 and is currently available on DVD.

In this clip you’ll see some additional scenes omitted from the movie including the poor beggar woman (Barker’s wife Lucy) soliciting for sex and money on the harbor port as well as additional text explaining Sweeney’s disgust of London.

If you watch the entire clip from beginning to end, you’ll also get the opening overture.

The song “There’s No Place Like London” is sung by Chris Groenendaal (Antony) and George Hearn (Sweeney).

http://youtube.com/watch?v=YsPvNdfS97I&feature=related (3:56- 9:40)


3. There’s No Place Like London – Sweeney Todd in Concert (3:56- 9:40) [33]
This version of the musical stars George Hearn and Patti LuPone in the title roles. It is modeled after the original; however this version uses only the minimal staging required for the concert stage. This production was originally shown in 2001 for the stage and is currently available on DVD.

In this clip you’ll see some additional scenes omitted from the movie including the poor beggar woman (Barker’s wife Lucy) soliciting for sex and money on the harbor port as well as short (but not complete) text explaining Sweeney’s disgust of London which has again been edited for time.

If you watch the entire clip from beginning to end, you’ll also get the opening overture.

The song “There’s No Place Like London” is sung by Davis Gaines (Antony) and George Hearn (Sweeney).

http://www.youtube.com/watch?v=HR1z0yW_ELc&feature=related


Sweeney Todd Bibliography

Agawu, V. Kofi. Playing with Signs: A Semiotic Interpretation of Classic Music,
Chapter 2 (Princeton: Princeton University Press, 1991), pp. 26-50.

Allanbrook, Wye J. “Two Threads through the Labyrinth: Topic and Process in the First
Movements of K. 332 and K. 333.” In Convention in Eighteenth- and Nineteenth-Century Music: Essays in Honor of Leonard J. Ratner, ed.Allanbrook, Levy, and Mahrt (Stuyvesant, NY: Pendragon Press, 1992).

Bower, Jamey Campbell and Johnny Depp. "There’s No Place Like London"
Sweeney Todd - The Demon Barber of Fleet Street, special ed. DVD. Directed by Tim Burton. 2007. Culver City, CA: DreamWorks Pictures, 2007.

Depp, Johnny and Helen Bohnam Carter.. "There’s No Place Like London"
Sweeney Todd - The Demon Barber of Fleet Street, special ed. DVD. Directed by Tim Burton. 2007. Culver City, CA: DreamWorks Pictures, 2007.

Groenendaal, Chris and George Hearn. "There’s No Place Like London"
Sweeney Todd - The Demon Barber of Fleet Street (Broadway) DVD. Directed by Terry Hughes and Harold Prince. 1982. Los Angeles, CA: RKO Pictures, 1982.

Gaines, Davis and George Hearn. "There’s No Place Like London"
Sweeney Todd - The Demon Barber of Fleet Street In Concert DVD. Directed by Lonny Price. 2001. Los Angeles, CA: Ellen M. Krass Productions, 2001.




[1] George Hearn is as well known as Len Cariou for portraying the role of Sweeney Todd. Hearn has played
Sweeney in many different stage and TV settings. Clips of Hearn playing Todd can be found in the resources
portion of this paper.
[2] Stephen Sondheim referred to Sweeney Todd as a “Black Operetta” when pressed to clarify whether the work was
a musical or an opera. The interview can be found on the DVD of Sweeney Todd: The Demon Barber of Fleet
Street In Concert.
[3] Wye J. Allanbrook “Two Threads through the Labyrinth: Topic and Process in the First Movements of K. 332 and
K. 333.” In Convention in Eighteenth- and Nineteenth-Century Music: Essays in Honor of Leonard J. Ratner
(Stuyvesant, NY: Pendragon Press, 1992). 125.
[4] Jamey Campbell Bower and Johnny Depp. "There’s No Place Like London" Sweeney Todd - The Demon Barber
of Fleet Street, special ed. DVD.(Culver City, CA: DreamWorks Pictures, 2007).
[5] Botany Bay is a city located in Australia. Originally when Britain colonized Australia, the city served
as a prison for set for the worst criminals in Britain. It is not known how Sweeney escaped, only that
he returns to London after at least 15 years of imprisonment on a “trumped up charge.”
[6] Johnny Depp and Helen Bohnam Carter . "A Little Preist" Sweeney Todd - The Demon Barber
of Fleet Street, special ed. DVD.(Culver City, CA: DreamWorks Pictures, 2007).
[7] Ibid.
[8] For your convenience, various versions of There’s No Place Like London are available for examination in the Resources section of this text.
[9] Kofi Agawu. Playing with Signs: A Semiotic Interpretation of Classic Music, Chapter 2 (Princeton, NJ: Princeton
University Press, 1991), pp.32-33.
[10] Ibid.
[11] Ibid.
[12] Ibid.
[13] Ibid.
[14] Ibid.
[15] Wye J. Allanbrook “Two Threads through the Labyrinth: Topic and Process in the First Movements of K. 332 and
K. 333.” In Convention in Eighteenth- and Nineteenth-Century Music: Essays in Honor of Leonard J. Ratner
(Stuyvesant, NY: Pendragon Press, 1992). 125.
[16] Ibid.
[17] For your convenience, a link to a YouTube copy of the performance has been included. You may see the song by
going to http://www.youtube.com/watch?v=hCZk5TMnGgg.
[18] For your convenience, the list of themes and motives is compiled on a pp. 8 – 10 of this text.
[19] Ibid.
[20] Jamey Campbell Bower and Johnny Depp. "There’s No Place Like London" Sweeney Todd - The Demon Barber
of Fleet Street, special ed. DVD.(Culver City, CA: DreamWorks Pictures, 2007).
[21] Ibid.
[22] Ibid.
[23] Ibid.
[24] Ibid.
[25] For your convenience, the list of themes and motives is compiled on a pp. 8 – 10 of this text.
[26] Ibid.
[27] Ibid.
[28] A version for viewing may be found on YouTube at http://www.youtube.com/watch?v=hCZk5TMnGgg
[29] Jamey Campbell Bower and Johnny Depp. "There’s No Place Like London" Sweeney Todd - The Demon Barber
of Fleet Street, special ed. DVD.(Culver City, CA: DreamWorks Pictures, 2007).

[30] Wye J. Allanbrook “Two Threads through the Labyrinth: Topic and Process in the First Movements of K. 332 and
K. 333.” In Convention in Eighteenth- and Nineteenth-Century Music: Essays in Honor of Leonard J. Ratner
(Stuyvesant, NY: Pendragon Press, 1992). 127.
[31] Jamey Campbell Bower and Johnny Depp. "There’s No Place Like London" Sweeney Todd - The Demon Barber
of Fleet Street, special ed. DVD.(Culver City, CA: DreamWorks Pictures, 2007).
[32] Chris Groenendaal and George Hearn. "There’s No Place Like London" Sweeney Todd - The Demon Barber of
Fleet Street In Concert (Los Angeles, CA: RKO Pictures, 1982).

[33] Davis Gaines and George Hearn. "There’s No Place Like London" Sweeney Todd - The Demon Barber of
Fleet Street In Concert (Los Angeles, CA: RKO Pictures, 2001).