Sweeney Todd

Sweeney Todd: The Demon Barber of Fleet Street

Sweeney Todd: The Demon Barber of Fleet Street

Directed by Steve Wilson


Set in 19th century London, this thrilling musical is the tale of an ousted barber and his revenge on those who did him wrong. He partners with the unscrupulous Mrs. Lovett and then things get a little messy!

Show Dates

Thursday, June 20, 2019, 7:30 p.m. < Buy Tickets
Friday, June 21, 2019, 7:30 p.m. < Buy Tickets
Saturday, June 22, 2019, 7:30 p.m. < Buy Tickets
Sunday, June 23, 2019, 2:00 p.m. < Buy Tickets

Audition Information

Auditions will be held from 6 to 9 p.m. on February 11-12. Callbacks will follow on February 13th from 6 - 10 at the GOODRICH LITTLE THEATRE, 72 W. 9th St in Fond du Lac.

There are 37 parts available, 23 for men, 14 for women. There is no prior preparation needed for auditions and NO video auditions will be accepted. The audition itself will be fairly fast - at 6pm on each of the audition days (you only need to pick one) a song will be taught to both males and females which will be the audition song. Then the audition actually begins. Each actor will have a cold read of a monologue that will be provided THAT evening and then they will sing the audition piece. Once that has occurred, the actors are free to leave. They will be notified after the second day of auditions if they are going to be called back. If they are, they need to be at the Goodrich Little Theatre from 6 - 10 on February 13th. Here they will read actual scenes from the show and sing again. The cast will be notified during the day on Thursday, February 14th if they are cast. The cast is then to report to the Goodrich Little Theatre on Friday, February 15th for a meeting and script disbursal from 6 - 7:30.

If there are any questions about the show or specifics about auditions, please contact the Director, Steve Wilson at 920.929.2740 ext 3131.

More Show Info

Sweeney Todd: The Demon Barber of Fleet Street is a 1979 musical thriller with music and lyrics by Stephen Sondheim and book by Hugh Wheeler. The musical is based on the 1973 play Sweeney Todd, the Demon Barber of Fleet Street by Christopher Bond. Sweeney Todd won the Tony Award for Best Musical and Olivier Award for Best New Musical. The character of Sweeney Todd had its origins in serialized Victorian popular fiction, known as "penny dreadfuls". A story called The String of Pearls was published in a weekly magazine during the winter of 1846-47. Set in 1785, the story featured as its principal villain a certain Sweeney Todd and included all the plot elements that were used by Sondheim and others ever since. The psychopathic barber’s story proved instantly popular – it was turned into a play before the ending had even been revealed in print. An expanded edition appeared in 1850, an American version in 1852, a new play in 1865. By the 1870s, Sweeney Todd was a familiar character to most Victorians. Sondheim’s musical was, in fact, based on Christopher Bond’s 1973 spooky melodrama, which introduced a psychological background to Todd’s crimes. In Bond's reincarnation of the character, Todd was the victim of a ruthless judge who raped his young wife and exiled him to Australia. Bond's sophisticated plot and language significantly elevated the lurid nature of the tale. Sondheim once noted, “It had a weight to it . . . because [Bond] wrote certain characters in blank verse. He also infused into it plot elements from Jacobean tragedy and The Count of Monte Cristo. He was able to take all these disparate elements that had been in existence rather dully for a hundred and some-odd years and make them into a first-rate play.” Sondheim felt that the addition of music would greatly increase the size of the drama, transforming it into a different theatrical experience. Music proved to be a key element behind the impact of Sweeney Todd on audiences. Over eighty percent of the production is set to music, either sung or orchestrated underneath dialogue. The score is one vast structure, each individual part meshing with others for the good of the entire musical machine. Never before or since in his work has Sondheim utilized music in such an exhaustive capacity to further the purposes of the drama. Sondheim has often said that his Sweeney Todd was about obsession and what Sondheim thought of as "a small horror piece" eventually became a colossal portrait of the Industrial Revolution, the distribution of wealth, inequality, class structure, and finally, LOVE.