Sweeney Todd Quotes

There's a hole in the world like a big black pit who are filled with people who are filled with shit.

At last, my arm is complete again

They all deserve to die. Even you, Mrs. Lovett Even I. Because the lives of the wicked should be made brief For the rest of us death would be relief.

There's a hole in the world like a great black pit and the vermin of the world inhabit it and its morals aren't worth what a pig could spit and it goes by the name of London. At the top of the hole sit the privileged few Making mock of the vermin in the lonely zoo turning beauty to filth and greed... I too have sailed the world and seen its wonders, for the cruelty of men is as wonderous as Peru but there's no place like London!

Now, this one might be a little stringy, but then again, it's fiddle player." That isn't fiddle player, it's piccolo player." How can you tell?" It's PIPING hot!" Then blow on it first!

Swing your razor wide! Sweeney, hold it to the skies!

Let Pirelli's / Miracle Elixir / Activate your roots, sir... Keep it off your boots, sir- / Eats right through. Yes, get Pirelli's! / Use a bottle of it! / Ladies seem to love it... Flies do, too!

TODD: The history of the world, my love -- LOVETT: Save a lot of graves, Do a lot of relatives favors! TODD: Is those below serving those up above! LOVETT: Ev'rybody shaves, So there should be plenty of flavors! TODD: How gratifying for once to know BOTH: That those above will serve those down below!

Alright! You sir, you sir, how about a shave? Come and visit your good friend Sweeney. You sir, too sir? Welcome to the grave. I will have vengenance. I will have salvation. Who sir, you sir? No ones in the chair, Come on! Come on! Sweeney's. waiting. I want you bleeders. You sir! Anybody! Gentlemen now don't be shy! Not one man, no, nor ten men. Nor a hundred can assuage me. I will have you! And I will get him back even as he gloats In the meantime I'll practice on less honorable throats. And my Lucy lies in ashes And I'll never see my girl again. But the work waits! I'm alive at last! And I'm full of joy!

Because in all of the whole human race Mrs. Lovett, there are two kinds of men and only two There's the one staying put in his proper place And the one with his foot in the other one's face

They all deserve to die. Tell you why, Mrs. Lovett, tell you why. Because in all of the whole human race Mrs Lovett, there are two kinds of men and only two There's the one they put in his proper place And the one with his foot in the other one's face Look at me, Mrs Lovett, look at you. Now we all deserve to die Tell you why, Mrs. Lovett, tell you why. Because the lives of the wicked should be made brief For the rest of us death will be a relief We all deserve to die.

Every demon loves Sweeney Todd, you know. It’s kind of a given.

Because in all of the whole human race Mrs. Lovett, there are two kinds of men and only two There's the one staying put in his proper place And the one with his foot in the other one's face Look at me, Mrs Lovett, look at you. No, we all deserve to die Even you, Mrs Lovett, even I! Because the lives of the wicked should be made brief For the rest of us death will be a relief

Well, in the meantime, Carter and I have been discussing the matter of Ryan." This time it wasn't the clang of a pan I heard, but instead a messy smack--the contact of Carter's backhand with Dean's head, I presumed. "Just hear me out. You have options. I have an Italian uncle. He'll make sure Ryan is sleeping with the fishes by next week." "Dean!" Unable to repress my amusement, my eyes flew wide and my grin grew. "Either that, or we can go all Sweeney Todd on him and--" "Oh, will you stop?" My laughter was crippling. "There will be no calls to your uncle and no trip to the barber shop--please, leave Sweeney Todd out of it.

There was a barber and his wife and she was beautiful... a foolish barber and his wife. She was his reason for his life... and she was beautiful, and she was virtuous. And he was naive. There was another man who saw that she was beautiful... A biased vulture of the law who, with a gesture of his claw removed the barber from his plate! And there was nothing but to wait! And she would fall! So soft! So young! So lost and oh so beautiful! Antony (spoken) The lady, sir...did she succumb? Sweeney Todd (sung) Ah, that was many years ago... I doubt if anyone would know. (spoken) Now leave me, Antony. There is somewhere I must go, something i must find out. Now, and alone. Antony (spoken) But surely we will meet again before I am off to Plymouth? Sweeney Todd (spoken) If you want you may well find me around Fleet Street. I wouldn't wander. (sung) There's a hole in the world like a great black pit and it's filled with people who are filled with shit! And the vermin of the world inhabit it!

and all I have to remark is, damn the pies!

Damas y caballeros. Me temo que lo que voy a decir arruinará su apetito, pero la verdad es siempre bella, y debo declarar que: ¡las empanadas de la Sra. Lovett están hechas nada menos que de carne humana!

Sweeney Todd’s barber shop over here,

Todd:I had him! His throat was there beneath my hand. No, I had him! His throat was there and now he'll never come again. Mrs. Lovett: Easy now, hush love hush I keep telling you, Whats your rush? Todd: When? Why did I wait? You told me to wait - Now he'll never come again. There's a hole in the world like a great black pit And it's filled with people who are filled with shit And the vermin of the world inhabit it. But not for long... They all deserve to die. Tell you why, Mrs. Lovett, tell you why. Because in all of the whole human race Mrs. Lovett, there are two kinds of men and only two There's the one staying put in his proper place And the one with his foot in the other one's face Look at me, Mrs Lovett, look at you. No, we all deserve to die Even you, Mrs Lovett, even I! Because the lives of the wicked should be made brief For the rest of us death will be a relief We all deserve to die. And I'll never see Johanna No I'll never hug my girl to me - finished! Alright! You sir, how about a shave? Come and visit your good friend Sweeney. You sir, too sir? Welcome to the grave. I will have vengenance. I will have salvation. Who sir, you sir? No ones in the chair, Come on! Come on! Sweeney's. waiting. I want you bleeders. You sir! Anybody! Gentlemen now don't be shy! Not one man, no, nor ten men. Nor a hundred can assuage me. I will have you! And I will get him back even as he gloats In the meantime I'll practice on less honorable throats. And my Lucy lies in ashes And I'll never see my girl again. But the work waits! I'm alive at last! And I'm full of joy! ps. love the movie the performance that Johnny Depp did was amazing and he sang amazing.

TOBIAS: Nothing's gonna harm you, not while I'm around. Nothing's gonna harm you, no sir, not while I'm around. Demons are prowling everywhere, nowadays, I'll send 'em howling, I don't care, I got ways. No one's gonna hurt you, No one's gonna dare. Others can desert you, Not to worry, whistle, I'll be there. Demons'll charm you with a smile, for a while, But in time... Nothing can harm you Not while I'm around... Not to worry, not to worry I may not be smart, but I ain't dumb I can do it, put me to it Show me something, I can overcome. Not to worry, mum. Being close and being clever Ain't like being true I don't need to, I would never hide a thing from you, Like some... MRS. LOVETT: Nothing's gonna harm you, not while I'm around. Nothing's gonna harm you, darling, not while I'm around. TOBIAS: Demons'll charm you with a smile, for a while, But in time... Nothing's gonna harm you Not while I'm around...

Aid me Heaven,’ she cried, ‘in the adoption of some means of action on the occasion. Is there anyone with whom I dare advise?

ANTHONY: I feel you, Johanna, I feel you Do they think that walls can hide you? Even now I'm at your window I am in the dark beside you, Buried sweetly in your yellow hair, Johanna… SWEENEY TODD: And are you beautiful and pale, With yellow hair, like her I'd want you beautiful and pale, The way I've dreamed you were, Johanna... ANTHONY: Johanna... SWEENEY TODD: And if you're beautiful, what then, With yellow hair, like wheat? I think we shall not meet again — My little dove, my sweet Johanna… ANTHONY: I'll steal you, Johanna… SWEENEY TODD: Goodbye, Johanna. You're gone, and yet you're mine. I'm fine, Johanna, I'm fine! ANTHONY: Johanna… BEGGAR WOMAN: Smoke! Smoke! Sign of the devil! Sign of the devil! City on fire! Witch! Witch! Smell it, sir! An evil smell! Every night at the vespers bell — Smoke that comes from the mouth of hell — City on fire! City on fire! Mischief! Mischief! Mischief... SWEENEY TODD: And if I never hear your voice, My turtledove, my dear, I still have reason to rejoice: The way ahead is clear, Johanna... JOHANNA: I'll marry Anthony Sunday Anthony…Sunday… ANTHONY: I feel you… SWEENEY TODD: And in that darkness when I'm blind With what I can't forget — ANTHONY: Johanna… SWEENEY TODD: It's always morning in my mind, My little lamb, my pet, Johanna… JOHANNA: I knew you'd come for me one day… Come for me…one day… SWEENEY TODD/ANTHONY: You stay, Johanna — Johanna… SWEENEY TODD: The way I've dreamed you are Oh look, Johanna — a star! ANTHONY: Buried sweetly in your yellow hair… SWEENEY TODD: A shooting star! BEGGAR WOMAN: There! There! Somebody, somebody look up there! Didn't I tell you? Smell that air! City on fire! Quick, sir! Run and tell! Warn 'em all of the witch's spell! There it is, there it is, the unholy smell! Tell it to the Beadle and the police as well! Tell 'em! Tell 'em! Help! Fiend! City on fire! City on fire! Mischief! Mischief! Mischief...Fiend . . . Alms…alms...for a miserable woman… SWEENEY TODD: And though I'll think of you, I guess, until the day I die, I think I miss you less and less as every day goes by, Johanna... ANTHONY: Johanna... JOHANNA: With you beside me on Sunday, Married on…Sunday… SWEENEY TODD: And you'd be beautiful and pale, And look too much like her. If only angels could prevail, We'd be the way we were, Johanna... ANTHONY: I feel you...Johanna… JOHANNA'S VOICE: Married on Sunday…married on Sunday ... SWEENEY TODD: Wake up, Johanna! Another bright red day! We learn, Johanna, to say goodbye! ANTHONY: I’ll steal you!

His stomach lurches. He has a sense, for the first time in his soldiering career, of what a war crime might look like from the inside. And it's not him who's the criminal, or even Caldwell. It's Justineau. And Mailer. And that drunken bastard Whitaker, and all the rest of them. Caldwell, she's just a butcher. She's Sweeney Todd, with a barber's chair and a straight razor. She didn't spend years twisting kids' brains into pretzels.

My Friend Todd: These are my friends See how they glisten See this one shine How he smiles In the light My friend! My faithful friend! Speak to me, friend Whisper, I'll listen I know, I know You've been locked Out of sight All these years! Like me, my friend! Well, I've come home To find you waiting Home And we're together And we'll do wonders Won't we? You there, my friend Mrs. Lovett: I'm your friend too, Mr. Todd Todd: Come, let me hold you Mrs. Lovett: If you only knew, Mr. Todd Todd: Now, with a sigh Mrs. Lovett: Ooh, Mr. Todd! Todd: You grow warm in my hand Mrs. Lovett: You're warm in my hand Todd: My friend! Mrs. Lovett: You've come home! Todd: My clever friend! Mrs. Lovett: Always had a fondness for you, I did Todd: Rest now, my friend Mrs. Lovett: Never you fear, Mr. Todd Todd: Soon I'll unfold you Mrs. Lovett: You can move in here, Mr. Todd Todd: Soon you'll know Todd and Mrs. Lovett: Splendours you'd never have dreamed all your days Mrs. Lovett: Will be yours! Todd: My lucky friend! Mrs. Lovett: I'm your friend! And you're mine! Todd: Till now your shine Mrs. Lovett: Don't they shine beautiful? Todd: Was merely silver! Mrs. Lovett: Silver's good enough for me, Mr. T Todd: Friend You shall drip rubies You'll soon drip precious Rubies At last, my arm is complete again!

[The Greeks] went to the open-air theatre expecting the drama they saw to evoke terror and pity. Nowadays we have enough terror and pity in our own lives and so rather than going to the theatre looking for terror, we go looking for slight irritation. And rather than looking for the theatre to evoke pity, we look merely for a generalized sense of identification as in “Evita was a woman, I am a woman." Or “Sweeney Todd was a barber, I go to the hairdresser." Or “Fosca in Passion should have her moles removed, I know a good dermatologist." That sort of thing.

The word ‘fleisch’, in German, provokes me to an involuntary shudder. In the English language, we make a fine distinction between flesh, which is usually alive and, typically, human; and meat, which is dead, inert, animal and intended for consumption. Substitute the word ‘flesh’ in the Anglican service of Holy Communion: ‘Take, eat, this is my meat which was given for you…’ and the sacred comestible becomes the offering of something less than, rather than more than, human. ‘Flesh’ in English carries with it a whole system of human connotations and the flesh of the Son of Man cannot be animalised into meat without an inharmonious confusion of meaning. But, because it is human, flesh is also ambiguous; we are adjured to shun the world, the flesh and the Devil. Fleshly delights are lewd distractions from the contemplation of higher, that is, of spiritual, things; the pleasures of the flesh are vulgar and unrefined, even with an element of beastliness about them, although flesh tints have the sumptuous succulence of peaches because flesh plus skin equals sensuality. But, if flesh plus skin equals sensuality, then flesh minus skin equals meat. The skin has turrned into rind, or crackling; the garden of fleshly delights becomes a butcher’s shop, or Sweeney Todd’s kitchen. My flesh encounters your taste for meat. So much the worse for me.

And there, until 1884, it was possible to gaze on the remains of a generally neglected monument, so-called Dagobert’s Tower, which included a ninth-century staircase set into the masonry, of which the thirty-foot handrail was fashioned out of the trunk of a gigantic oak tree. Here, according to tradition, lived a barber and a pastry-cook, who in the year 1335 plied their trade next door to each other. The reputation of the pastry-cook, whose products were among the most delicious that could be found, grew day by day. Members of the high-ranking clergy in particular were very fond of the extraordinary meat pies that, on the grounds of keeping to himself the secret of how the meats were seasoned, our man made all on his own, with the sole assistance of an apprentice who was responsible for the pastry. His neighbor the barber had won favor with the public through his honesty, his skilled hairdressing and shaving, and the steam baths he offered. Now, thanks to a dog that insistently scratched at the ground in a certain place, the ghastly origins of the meat used by the pastry-cook became known, for the animal unearthed some human bones! It was established that every Saturday before shutting up shop the barber would offer to shave a foreign student for free. He would put the unsuspecting young man in a tip-back seat and then cut his throat. The victim was immediately rushed down to the cellar, where the pastry-cook took delivery of him, cut him up, and added the requisite seasoning. For which the pies were famed, ‘especially as human flesh is more delicate because of the diet,’ old Dubreuil comments facetiously. The two wretched fellows were burned with their pies, the house was ordered to be demolished, and in its place was built a kind of expiatory pyramid, with the figure of the dog on one of its faces. The pyramid was there until 1861. But this is where the story takes another turn and joins the very best of black comedy. For the considerable number of ecclesiastics who had unwittingly consumed human flesh were not only guilty before God of the very venial sin of greed; they were automatically excommunicated! A grand council was held under the aegis of several bishops and it was decided to send to Avignon, where Pope Clement VI resided, a delegation of prelates with a view to securing the rescindment if not of the Christian interdiction against cannibalism then at least of the torments of hell that faced the inadvertent cannibals. The delegation set off, with a tidy sum of money, bare-footed, bearing candles and singing psalms. But the roads of that time were not very safe and doubtless strewn with temptation. Anyway, the fact is that Clement VI never saw any sign of the penitents, and with good reason.

thence

Psha!’ said Sweeney Todd,

But genius is not only a blight and a desolation to its possessor, but it is so to all who are bound to the gifted being by the ties of fond affection. It brings with it that unhappy restlessness of intellect which is ever straining after the unattainable, and which is never content to know the end and ultimatum of earthly hopes and wishes; no, the whole life of such persons is spent in one long struggle for a fancied happiness, which like the ignis-fatuus of the swamp* glitters but to betray those who trust to its delusive and flickering beams.

hypocrisy never, to my mind, wears so disgusting a garb as when it attires itself in the outward show of religion.

I SAW a production of Sweeney Todd right after Patrick moved out, and fell for the guy in the lead role, all right? And I wasn’t critically appreciative from a safe blogging distance; I was bludgeoned and ravaged into crazytown by this seemingly random performer who shook me into fandom at an age closer to thirty than twenty. It was embarrassing:

No, la vida entera de tales personas se echa a perder en una larga lucha por una felicidad imaginaria, que al igual que los fuegos fatuos del pantano reluce, pero para traicionar a aquellos que confían en sus engañosos y llameantes destellos.

Thanks to Steven, I rode on a bus with the Gay Men's chorus, which he and the doctor had joined. All the way they sang. When I looked at Steven and made a face, he looked offended, but I didn't care. It was way too early in the morning for anything from Sweeney Todd.

Looking as sharp as Sweeney Todd’s razor, Roger struck a formidable figure as he donned his smart clothes and tie. At times, he would often talk of the night of his career when he fought John Conteh. He took the defeat of that match very personally and would often punch out a drunk who scoffed at his midlands accent and his past pride and glory.

These are my friends

These are my friends" -- this is a line from Sweeney Todd but if I were singing it would be to my books

These are my friends

In the original production, after the first factory whistle, almost the entire cast appeared onstage to sing the opening song, the first words of which are, “Attend the tale of Sweeney Todd” (F 333).44 These words immediately establish that what we are to see over the next two and a half hours is not the story of Sweeney Todd but the narration of the story of Sweeney Todd, presumably by the actors assembled on the stage.45 That we are watching a narration, a performance, is reinforced by the periodic reprises of “The Ballad of Sweeney Todd” that assist the transitions between scenes and comment on the action. This emphasis of the storytelling aspect of the play, its narrativity, gains importance if we recall some of the connections between narrative and time discussed in the section on Company. Narratives, because of their connection to time’s arrow, move toward death. The desire for completed narrative-epistemological structures implies specifically a desire for death and, more generally, a desire for the transcendent, the ideal, absolutes that exist outside the completed structures and, implicitly, outside of time.

The dramatic strategy of the show provides a simple and effective means to blend melodrama with farce (which Sondheim claims as his “two favorite forms of theatre because … they are obverse sides of the same coin”).37 Starkly put, the show develops a pattern of first scaring the hell out of its audience and then rescuing the situation through humor, each time by introducing Mrs. Lovett into a situation saturated with Sweeney Todd’s wrenching angst. This scare-rescue pattern happens twice to great effect, at the beginning and end of Act I, but its real payoff is the devastating conclusion, where there is no comic rescue. The denial of this previous pattern greatly intensifies the darkness of the supremely bleak ending, making the show’s musical profile seem operatic to Broadway audiences even though, ironically in this respect, the denouement unfolds with only intermittent singing.38 But the musical dimension of the show is also deliberately operatic, as it interweaves, Wagner-like, a host of recurring motives, mostly related to each other through a common origin in the Dies Irae, from the Catholic requiem mass. The Dies Irae (literally, “Day of Wrath”; see example 7.1) was taken up as a symbol of death and retribution in music throughout the nineteenth century and continuing into the twentieth (the most important early such use was by Berlioz in his 1830 Symphonie fantastique). Most scene changes bring back “The Ballad of Sweeney Todd,” which includes both fast and slow versions of the Dies Irae (example 7.1) and builds up to a frenetic, obsessive chorus of “Sweeney, Sweeney.