Alternate Show Interpretation: The 2005 Broadway revival, in which all of the characters are portrayed as inmates enacting the events in a madhouse.
The 2012 West End production gave a Setting Update by placing the show in the 1930s.
Alternative Character Interpretation: All over the place. Toby, for one. As the role is vocally demanding, adults are often cast in the part, which makes for the question of whether Toby is a kid or a mentally disabled man. For that note, the motives of the Beadle are ambiguous, whether he's a psychopath who's as bad as the judge or just a police officer who sincerely believes the judge is a good man. Then there's the matter of whether Anthony is a romantic hero who saves Johanna from the Judge or if he's a creepy stalker (though he's definitely a major step-up from Judge Turpin).
Johanna can also be interpreted as genuinely in love with Anthony or just using him as a means to escape the Judge. The 2007 film, for example, went with the latter.
Judge Turpin, of all people, gets one depending on whether his song "Johanna" removed or not (that being said, it is so often removed foragoodreason). This song shows that he actually tried to resist the temptation Johanna was causing and even seems to imply that she was his Morality Pet. "Johanna, Johanna, I treasured you in innocence and loved you like a daughter".
Does Mrs. Lovett genuinely care about Toby or just as uninterested in him as she is with everyone else other than Sweeney?
The 2014 concert hinted that Toby might be romantically interested in Mrs. Lovett and additionally featured a scene where the Beadle hits on her.
Awesome Music: "The Ballad of Sweeney Todd", "Epiphany", and "A Little Priest", just to name a few. Well... really the entire song list (given the right cast) but bonus points go to "Johanna (Reprise)".
Crowning Moment of Heartwarming: At the very end of the 2001 concert version, George Hearn and Patti Lu Pone come out on stage last for their bows. George gives Patti a huge hug, takes a small bow, and steps back, gesturing for Patti to take her bow. Patti keeps clapping for George, gives him a look and, though you can't hear her, her lip movements clearly read, "Take another bow, George. Take another bow." The amount of respect and appreciation that she has for him is the sweetest thing.
Ear Worm: Just try to get ANY of the songs out of your head after viewing the theater or movie version. It's bloody impossible (but delightfully so).
Fair for Its Day: The Judge's sentencing of a young boy to hanging, though he is a four-time offender. This is noticeably shortened to one previous offense in the film.
Ho Yay: In the movie, there seem to be overtones of this between Beadle Bamford and Judge Turpin. Mostly coming from Bamford's end, though it IS kinda odd that he seems to spend so much time with the judge...
Notably, in the stage musical it's made clear in the reprise in The Barber and His Wife that both Turpin and Bamford have a thing for Lucy. In the movie, however, the lyrics are changed so that only the Judge's affections are mentioned.
Toby's pat-a-cake-pat-a-cake at the end, Judge Turpin, The tooth pulling scene (in the original), the 2005 revival.
"Epiphany" is particularly horrifying. Watching Sweeney take a flying leap into the pit of insanity, combined with the song's tendency to switch between his declaring vengeance on all of humanity and mourning his wife and daughter.
The beggar woman becomes that much more horrifically tragic when you realize she's Sweeney's wife and the combination of the traumatic assault and attempted suicide have left her a shell of her former self.
Judge Turpin's song Johanna is often cut...and for good reason. A horror-thriller musical about serial killers and cannibalism is disturbing enough but Johanna (Judge's Reprise) takes it to a whole new level.
Paranoia Fuel: A trip to the barber's or a pie shop both made very creepy for the Victorian audience. For the typical modern audiences, this story has made the straight razor unsettlingly best known as a weapon of murder.
The finale reprise of "The Ballad of Sweeney Todd" invokes this trope with its lyrics, culminating with the company shouting "There he is! It's Sweeney!" and pointing out at the audience.
Perhaps today, you gave a nod
To Sweeney Todd, the Demon Barber of Fleet Street?
On the other hand, another way to see them is as a parallel to the Todd/Lucy couple ("she was beautiful, and he was naive", particularly if you take the interpretations where Johanna is crazy into account)
Squick: The whole thing is pretty squicky, but Judge Turpin gets a special mention for "Johanna (Mea Culpa)," where he flagellates himself to orgasm while watching his teenaged ward through a keyhole. While singing. It was cut from the original Broadway production, and, unsurprisingly, it's only occasionally reinstated. When done well, the sequence can be one of the most chilling in the show...which is about serial murder and cannibalism.
Tear Jerker: During the "Final Scene", just after throwing Mrs. Lovett into the oven, Sweeney returns to his dead wife's side. In the original version of the scene, he sings a reprise of "Not While I'm Around", which has since been replaced with a reprise of "The Barber and His Wife". Either one fits this trope.
Anthony when he bursts into Sweeney's barber shop in the midst of his shaving of Judge Turpin. What was he expecting?
One wonders why Sweeney takes Lovett's advice to be patient in plotting his revenge at heart, spending his sweet time singing along with Turpin about pretty women. What was he expecting? Although... see "Squick" above.
Mrs. Lovett, keeping Lucy a secret from Todd when she kept coming around her shop. Sweeney's shown no hesitation in killing anyone who's crossed him, particularly in regards to his family. What was she expecting?
Pirelli, confronting a man who's been in prison for fifteen years, and blackmailing him. What was he expecting?
Awesome Music: Not sure about the original musical, but the quiet interplay between Turpin and Todd in "Pretty Women" is incredibly good, especially as it builds to that crescendo at the very end.
Complete Monster: Judge Turpin is a corrupt Hanging Judge in Victorian London and the man who begins Sweeney's start of darkness when, lusting after the then-younger barber's wife, Turpin has him imprisoned on a penal colony for decades of hard labor so he can seduce his wife. When she refuses, Turpin has her lured to his home under pretense of offering to free her husband- but rapes her instead, and steals her daughter as his ward. Turpin guards her jealously, having a younger sailor brutally beaten for looking at her and plans to marry her himself. When she refuses and tries to run away he sends her to an asylum where he knows she'll be mistreated. At another point, Turpin sentences a little boy to death by hanging...and then asks his sidekick, the Beadle Bamford, if the boy was even guilty of anything.
Genius Bonus: Pirelli boasts that he had Shaved the Pope himself, while mocking Sweeney that probably thinks it was only a Cardinal, followed by Toby showing a portrait of the Pope. Given that the story should take place in 1846, it was the same year that Pope Pius IX was elected Pope, which would explain how Pirelli might have really shaved the Italian cardinal Giovanni Maria Mastai-Ferretti who became the Pope, giving him the edge by technicallity.
Although the written "Thanks for da Shave - The Pope" on the portrait is rather suspicious on Pirelli's part. Not to mention that we later learn Pirelli is a false identity, giving further evidence that it was all just made up.
Hilarious in Hindsight: When the movie came out, it was noted that there were three Harry Potter alums in the film. The actor who played Anthony later played Grindelwald, so that's four. Not to mention that three of the four played Death Eaters, and all their HP characters were, at one point or another, bad guys. Dark Wizard reunion!
Love It or Hate It: Critics, general audiences, and Sondheim, who was heavily consulted, himself love the film, but some serious fans of the stage show despise it. The main reason for the divide comes down to the performances, with fans of the film loving the actors in it, and haters feeling they're butchering Sondheim's score.
Nightmare Fuel: The rape scene. Jesus Christ, the rape scene. Some consider it to be the scariest scene in the movie. Not helped at all by Judge Turpin's creepy-ass owl mask.
ALL of the throat-slitting scenes! Unlike the stage show, which use clearly harmless stage trickery, this movie loves getting up close to the victim's throats as Todd really digs his razor in, blood splattering everywhere, complete with nauseating sound-effects to make it extra-visceral.
The beggar woman's capacity for this was ramped right up for the movie.
The scene with Toby in the evil basement, when the poor kid finally learns what's in the pies — and then has to watch as the just-murdered Beadle Bamford gets dumped right down into the basement with him. And then Mrs. Lovett and Sweeney come down into the sewer looking for him because they want to murder him too.
When Sweeney finds out Lovett lied to him, he takes her off her guard by dancing with her - and throws her into the furnace. Unlike the stage play, we can see exactly what happens as she screams and thrashes while she burns up. The last shot of her shows a shrieking, thrashing blackthing, with her face reduced to The Blank by the sheer amount of damage it's taken.
Imagine being Mrs. Lovett and what you're thinking in that situation. The person you love finds out that you indirectly killed their wife by lying to them about if their spouse was alive or not. But suddenly, the person you're in love with is okay with that! You start dancing with him and he's saying that she's already dead and that there's no point in worrying about the past. You think you're gonna marry him, live together in your dream world when suddenly, he throws you into an open oven. As you're screaming in pain and agony, he closes the oven door with an expressionless look on his face. And that's how you die...
Toby killing Todd. In the play, his Heroic BSOD is shown by having him stumble about while mumbling nursery rhymes with a crazed half-laugh. Here? He crawls out of the sewer, casually picks up Todd's razor, kills him where he stands and lumbers out the door. All while completely stone-faced.
The "Johanna" reprise, which implies that as much as Sweeney misses his daughter and hopes to have her back, he really can't help but to feel a deep disconnection.
"Not While I'm Around" is more of a Fridge Horror tearjerker, since it all goes waaaaaay downhill from there.
In the film adaptation, Mrs. Lovett, trying to conceal her anguish as she tries to remain cheerful around Toby, sensing that bad things will come for Toby because he voiced his suspicions about Todd.
Anthony's and Johanna's final interaction on-screen. He assures her that they can leave all the "ghosts" behind. However, Johanna disagrees, believing that the ghosts would never die. Although its implied they did manage to escape Tupin's clutches and move on, Johanna knows that the trauma will always haunt her.
The final scenes with Todd, taking the dead Lucy on his arms, and Toby slashing his throat and he cradling her while slowly dying. Todd may have ended up becoming a psychopath, but the look on his eyes is the look of a completely broken man. Can you say Stoic Woobie?