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Changed line(s) 21,22 (click to see context) from:
** Oh, it gets even [[SarcasmMode better]]. You're lulled into a false sense of security at the beginning of the show with an organ playing. It's creepy but composed in such a way that it's soothing. Then, right as the houselights dim...[[HellIsThatNoise SCREEEEEEEEEEEEEECH!!!]] then the house and stage are plunged into darkness.
*** To up the ante? The whistle sounds at totally random times. It's still going to make you jump in your seat.
*** To up the ante? The whistle sounds at totally random times. It's still going to make you jump in your seat.
to:
** Oh, it gets even [[SarcasmMode better]]. You're lulled into a false sense of security at the beginning of the show with an organ playing. It's creepy but composed in such a way that it's soothing. Then, right as the houselights dim...go out, plunging everyone into darkness...[[HellIsThatNoise SCREEEEEEEEEEEEEECH!!!]] then the house and stage are plunged into darkness.
SCREEEEEEEEEEEEEECH!!!]]
*** To up the ante? The whistle sounds at totally random (but important to the plot) times. It's still going to make you jump in yourseat.seat and you're left waiting to hear that awful shrieking whistle.
*** To up the ante? The whistle sounds at totally random (but important to the plot) times. It's still going to make you jump in your
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Changed line(s) 11 (click to see context) from:
** Most actors shout at Antony "OUT! I SAY OUT!" (which is the cue to the orchestra and conductor to begin the song proper). George Hearn (probably the most well known for his RoaringRampageOfRevenge rendition of Epiphany) in the 1982 taping and 2001 concert on the other hand hisses the line to Antony with a cold and furious TranquilFury, even taking a couple of steps forward.
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** Most actors playing Todd shout at Antony "OUT! I SAY OUT!" (which is the cue to the orchestra and conductor to begin the song proper). George Hearn (probably the most well known for his RoaringRampageOfRevenge rendition of Epiphany) in the 1982 taping and 2001 concert on the other hand hisses the line to Antony with a cold and furious TranquilFury, even taking a couple of steps forward. Davis Gaines (who plays Antony in the 2001 concert edition) runs out of there looking about ready to piss his pants.
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** Most actors shout at Antony "OUT! I SAY OUT!" (which is the cue to the orchestra and conductor to begin the song proper). George Hearn (probably the most well known for his RoaringRampageOfRevenge rendition of Epiphany) in the 1982 taping and 2001 concert on the other hand hisses the line to Antony with a cold and furious TranquilFury, even taking a couple of steps forward.
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Changed line(s) 35 (click to see context) from:
* Count on "Epiphany" (where Todd simultaneously swears revenge and mourns both Lucy and Johanna in a case of SanitySlippage) delivering this. As mentioned above, in the stage musical, the actor playing Todd [[TheFourthWallWillNotProtectYou addresses various members of the audience and will even leap off the stage to individually confront them]]. This is impossible to do in the film without going into {{Narm}} territory but Burton comes up with an effective solution. During the parts where Todd is screaming about giving various people a shave, he paces through the crowded streets, individually stopping by various men with each line. The intended victims don't react, which gives a frightening edge. Men of London beware...Sweeney's waiting!
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* Count on "Epiphany" (where Todd simultaneously swears revenge on the world that stood by while he went through the TraumaCongaLine from Hell and mourns both Lucy and Johanna in a case of SanitySlippage) delivering this. As mentioned above, in the stage musical, the actor playing Todd [[TheFourthWallWillNotProtectYou addresses various members of the audience and will even leap off the stage to individually confront them]]. This is impossible to do in the film without going into {{Narm}} territory but Burton comes up with an effective solution. During the parts where Todd is screaming about giving various people a shave, he paces through the crowded streets, individually stopping by various men with each line. The intended victims don't react, which gives a frightening edge. Men of London beware...Sweeney's waiting!
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* Count on "Epiphany" (where Todd simultaneously swears revenge and mourns both Lucy and Johanna in a case of SanitySlippage) delivering this. As mentioned above, in the stage musical, the actor playing Todd [[TheFourthWallWillNotProtectYou addresses various members of the audience and will even leap off the stage to individually confront them]]. This is impossible to do in the film without going into {{Narm}} territory but Burton comes up with an effective solution. During the parts where Todd is screaming about giving various people a shave, he paces through the crowded streets, individually stopping by various men with each line. The intended victims don't react, which gives a frightening edge. Men of London beware...Sweeney's waiting!
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Changed line(s) 35 (click to see context) from:
* After learning that Antony plans to help Johanna escape, Turpin comes into Johanna's room to see her packing. Their resulting confrontation reads very much like he's preparing to ''rape'' her and then the Beadle actually does while Johanna shrieks in terror. Cut to Antony watching outside the house (waiting for Johanna) only to see her being dragged kicking and screaming to a wagon.
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* After learning that Antony plans to help Johanna escape, Turpin comes into Johanna's room to see her packing. Their resulting confrontation reads very much like he's preparing to ''rape'' her and then the Beadle actually does lunge at her while Johanna shrieks in terror. Cut to Antony watching outside the house (waiting for Johanna) only to see her being dragged kicking and screaming to a wagon.
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Changed line(s) 23 (click to see context) from:
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* While the song "Kiss Me/Ladies In Their Sensitives" is a humorous song, there's a slight one in the staging (seen prominently in the taping from 1982 and in the 2014 concert). Antony and Johanna's part ends with them kissing (implying that they're making out) and freezing in place. The staging continues with the Judge and the Beadle walking to the Judge's home and stopping just before he enters the house. You can see him preparing to either open the door (2014 concert) or climb the steps (in the 1982 taping)...right next to where Antony and Johanna are making out. He was very close to catching them in the act and given how he reacted to learning Johanna intended to run away from him? Who knows what would've happened...
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* After learning that Antony plans to help Johanna escape, Turpin comes into Johanna's room to see her packing. Their resulting confrontation reads very much like he's preparing to ''rape'' her and then the Beadle actually does while Johanna shrieks in terror. Cut to Antony watching outside the house (waiting for Johanna) only to see her being dragged kicking and screaming to a wagon.
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** Oh, it gets even [[SarcasmMode better]]. You're lulled into a false sense of security at the beginning of the show with an organ playing. It's creepy but composed in such a way that it's soothing. Then, right as the houselights dim...[[HellIsThatNoise SCREEEEEEEEEEEEEECH!!!]] then the house and stage are plunged into darkness.
*** To up the ante? The whistle sounds at totally random times. It's still going to make you jump in your seat.
*** To up the ante? The whistle sounds at totally random times. It's still going to make you jump in your seat.
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Added DiffLines:
** Early on in the musical, you learn through the songs "A Barber and His Wife" and "Poor Thing" that Turpin wanted Lucy so badly that he had Barker transported to Australia on false charges. When that and his attempts at seduction didn't work, Turpin had the Beedle lure Lucy to his house under the pretenses that he was "all contrite" and "blames himself for her dreadful plight". Lucy gets there in the middle of a masquerade ball. She then drinks but (depending on the play's interpretation) either means Turpin was SlippingAMickey or he got her rip-roaring drunk. The music crescendos as the dancers "all just stood there and laughed" and surround them....
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*** When Lucy and the Beadle arrive at the party, he randomly grabs a flute of champagne and gives to to Lucy before pushing her into the crowd of dancers while looking in the direction of the audience with an evil smirk. Lucy takes a sip...but she looks dizzy and disoriented before finally collapsing onto a sofa. You realize then that she'd been [[SlippingAMickey slipped a roofie like drug]].
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* At the end of "God, That's Good!" Mrs. Lovett is delighted to see Todd's newest customer going up to his shop, gleefully saying ''"Fresh supplies!"''
