Every time Sweeney Todd (book by Hugh Wheeler, music and lyrics by Stephen Sondheim) has been presented on Broadway, it's been done in a different way. The initial production in 1979 was a full-blown affair with a cast of 27, huge set pieces and a full orchestra. The 1989 off-Broadway transfer was a stripped-down production, with minimal sets and a reduced cast, but with basically the same story presented. In this latest version of Sweeney Todd , which recently opened at the Eugene O'Neill Theater, the cast also serves as the musicians. So, in addition to their performing, we get to see them playing everything from guitars and trumpets to tubas and violins. It's an interesting touch, but whether it's really necessary is open to question.

Sweeney Todd is the tale of a barber (Todd—played here by Michael Cerveris) in 19th century London who has escaped from an Australian penal colony where he was sent on a trumped-up charge and vows vengeance on those who framed him and destroyed his family. Not exactly a lighthearted romp… especially with the added twist of Todd's accomplice Ms. Lovett (a delightfully campy Patti LuPone) coming up with the idea of hiding the bodies of Todd's victims by grinding them into meat for pies. However, the execution of the idea is deliciously done (puns intended) and one finds oneself drawn into the audacity of the story with its unflinching look at people reduced to living by their wits—demented though they may be—as they try to find a way to survive in an endlessly corrupt society.

There's only one major problem, which goes to the very building block of this particular production. Having the cast also serve as the orchestra is all well and good (and rather enjoyable to watch), but by putting the musicians on stage, it leaves precious little room for any props or items which could be used to better enhance and explain the actual plot. Due to the show's staging (credited to director John Doyle), the storytelling suffers dramatically, particularly for anyone who has never seen Sweeney Todd before. Often during the performance, there's very little sense of place, such as when Sweeney is returning to London on a ship; during a contest between Todd and a competitor (Donna Lynne Champlin) to see who can provide the best shave (a contest which ends up looking pretty lame); or with the asylum where Sweeney's daughter (Lauren Molina) is imprisoned by her adoptive father (Mark Jacoby) to keep her away from a young sailor she loves (Benjamin Magnuson).

On the plus side, Doyle does prove himself to be quite adept in bringing out the comedy in the work—not only through the characters (especially LuPone), but by emphasizing some of Sondheim's lyrics (such as when Todd and Lovett sing about "types" of meat pies available). Moroever, he has done well in creating a stark, desperate atmosphere that permeates the entire piece. However, because it's often hard to follow the libretto, some of the heart of the play is lost and one never really feels completely enveloped in the show.

The cast is quite enjoyable. Cerveris is able to instantly switch personas from a man in torment to the embodiment of pure evil while LuPone plays his sometimes comic foil, almost but never going over the top into parody. Molina and Magnuson as the innocent lovers offer up a nice subplot. Manoel Felciano is quite good as the half-witted Tobias, and Diana DiMarzio as the Beggar Woman is revoltingly appealing (and figures deeply in the conclusion of the story).

Sondheim fans will love probably love the show, and Cerveris is a definite contender for the Best Actor Tony come June. Yet, in reducing the set to a coffin, a few stools and not much more, you really don't feel immersed in the complete experience that Sweeney Todd should be.

Also featured in the cast are Alexander Gemignani and John Arbo.

Sweeney Todd: The Demon Barber of Fleet Street
Eugene O'Neill Theatre
230 West 49th Street
Tickets: $36.25 – $101.25
Reservations: 212-239-6200 or www.telecharge.com
Running Time: Approximately two hours and 40 minutes