SWEENEY TODD GETS A MAKEOVER. As many of you know, the tale of Sweeney Todd revolves around a master barber who becomes overly enthusiastic with his beloved razors. So it's arguably apropos that aspects of this macabre Stephen Sondheim musical have been sliced and diced for its current revival at the Eugene O'Neill Theater.

Under the aegis of director/designer John Doyle, sets have been chopped down to the equivalent of a single all-purpose prop shop. The orchestra, trimmed to a modest-sized ensemble including the actors, plays a score reduced to its harmonic and melodic fundamentals. Costuming is rudimentary. Previously useful strands of stage business have been cut or brushed aside or pinned back here and there, creating an odd mix of bare patches and crazy swirls but also opening up perspectives that might otherwise have remained obscure.

The result is, by Broadway standards, an extreme or "experimental" Sweeney Todd that is about performance and theatrical displacement at least as much as it is about plot, which Doyle sporadically sacrifices in deference to his stylistic conceits. Ultimately the show retains its core brilliance, exemplified by the Act I finale, "A Little Priest," sung by the very able leads Michael Cerveris and Patti Lupone (who, amazingly, seems to be merely tapping into her formidable talent). The teamwork and musicality of the entire ensemble consolidates the production's charm, with Lauren Molina making an impressive Broadway debut as Johanna. Even though Doyle's restyling of Sweeney Todd is not a complete triumph, it succeeds enough to win over audiences and especially attract theater people including open-minded fans of this show, which is very likely Sondheim's crowning achievement to date.

Ticket discounts have been available at TKTS and the usual places online. The box office also offers some low-priced seats in the back.

Photo: David Marc Fischer