Stephen Sondheim‘s bloody tale of a vengeful barber in Victorian England has been reinvisioned as the horrific nightmare of a young man confined in a mental asylum.

Dark as a stormy sky and gashed in dozens of places as if by a madman with a knife, the curtain across the stage of the Eugene O'Neill Theatre on Broadway is an omen that "something evil this way comes."

The O'Neill is on Broadway and that's where Stephen Sondheim's macabre masterpiece "Sweeney Todd," in a startlingly original staging, opened last week. If the roar of approval from the riveted audience at the performance I attended is any measure of its success, you can consider the O'Neill booked for months to come.

Fans of this exercise in bloody deeds are in for a surprise and a treat. Since its debut in 1979, "Todd" has been seen in a range of productions, from the near-epic to the intimate chamber recital, but nothing approaches the inspiration and daring of this new revival under the direction of England's John Doyle.

Doyle has reinvisioned the story about the "Demon Barber of Fleet Street" as the horrific nightmare of Tobias (Manoel Felciano), a young man who in this incarnation is a straight-jacketed inmate in a lunatic asylum.

also will summon up the horrors of works by Edgar Allen Poe, who wrote, "Who would have thought the old man had so much blood in him."

Tobias' tale follows the path of Sweeney Todd, who's escaped from prison in Australia and returned to London to wreak vengeance on the men who wrongfully sentenced him, abducted his daughter, and drove his wife to suicide.

The production is as spare and utilitarian as a barber's straight-edge razor. There are few props on stage save chairs for the musician/singers and a gray coffin that is taken apart and rearranged to serve as a door, a table and — most sinister— as a barber's chair.

At the rear of the stage, paneled with wooden slats, are floor-to-ceiling shelves crammed with apothecary and baking utensils, a grim reminder of the suspect activities of Todd and his amoral lady friend, Mrs. Lovett.

Doyle has reduced the cast from the original 27 people to just 10 and has drafted them as the show's on-stage orchestra to boot. The cast was obliged by Broadway rules to join Local 802, the musicians' union.

Each of the actors plays one or more instruments and most assume multiple roles. Sondheim's score — intricate, demanding and often lyrical — is as expertly sung as it is played.

One of the amusing oddities of the season has got to be seeing Broadway diva Patti LuPone, who once sexily sashayed through "Evita," outfitted with a fat-suit derriere and puffing on a tuba.

LuPone plays Mrs. Lovett, the conniving frump who finds the leftover cadavers from Todd's murderous rages make tasty fillings for her meat pies. You're likely to think twice about any dish with chopped meat after visiting this show.

Michael Cerveris portrays Sweeney Todd with a bald pate and deep-set eyes, looking like a very mean Yul Brenner. Not exactly a newcomer to Broadway, he appeared in the revival of Sondheim's "Assassins" two years ago and here makes a notable debut in a leading role.

His baritone maybe one register higher than the bass voice usually associated with this role, but it's deep enough to resonate threateningly. In his creepy first appearance he rises from the coffin like a vampire. Though he is the busiest actor on stage, he makes his musical contribution with just two guitar solos.

Doyle has mastered the depiction of the stage carnage brilliantly. "Everything is suggested," he says. "Everything is symbolic."

Each time Sweeney slits a throat, a shrill whistle goes off and the stage is bathed in red light. Blood is poured from one pail into another, and the victim is given a white laboratory jacket generously smeared with red as a new costume.

The seamless staging is a marvel to behold. The performers segue from musician to actor to stagehand without jolting the action in any way. In a sense, they are "on" all the time.

Among the supporting cast are some multi-talented performers to be sure. Benjamin Magnuson plays the young sailor Anthony, who becomes smitten with Todd's daughter, Johanna (Lauren Molina).

The two lovers handle their songs smoothly, particularly "Kiss Me" (together) and "Johanna" (Magnuson). When not singing, they're expertly sawing away on cellos.

In this exemplary ensemble effort the works of the others must be noted: Mark Jacoby as the evil Judge Turpin, Donna Lynne Champlin as the rival barber, Pirelli; Alexander Gemignani as the Beadle, John Arbo as Jonas Fogg, and Diana DiMarzio as the plot-twisting Beggar Woman.

Anyone who appreciates the Sondheim touch when it comes to witty lyrics will enjoy the tasty delights of "A Little Priest," a duet with Mrs. Lovett and Todd making cheeky fun about who's who in her pies.

Mrs. Lovett: "Since marine doesn't appeal to you, how about rear admiral?

Todd: Too salty, I prefer general.

Mrs. Lovett: With or without his privates? "With" is extra.

Todd: What's that?

Mrs. Lovett: It's FOP, finest in the shop,

Or we have some Shepherd's Pie peppered

With actual shepherd on top.

And I've just begun.

That's a politician — so oily

It's served with a doily."

And bicarbonate!