For the production’s setting, McClelland has jettisoned the traditional accoutrements of mid-19th century London and instead adopted an often post-apocalyptic look that pulls on a wide variety of time periods.

Extensive efforts have also been taken to deal with the audience-addressing chorus that presents Sweeney’s story. In order to clarify the viewpoint, the story now emanates from the mind of one of the central characters, the oft stepped-upon Tobias.

Stetson explains that this tactic is meant to make the show “more accessible, easier to understand and relate to,” as well as to more clearly define the role of the chorus. “The chorus represents what’s in his mind, rather than just being like a Greek chorus,” she said.

Yet despite a massive physical production that sets scenes in a person-sized birdcage and a surreal infomercial, McClelland denies that his approach to the play is about uniqueness for the sake of uniqueness.

“There’s the idea that somehow because certain choices were made, they were made for a certain uniqueness as opposed to for a kind of legitimacy or solution,” McClelland says. “I think the choices bring out the best parts of the script or the tale or the people.”

theater

Sweeney Todd

Music and Lyrics by Stephen Sondheim

Book by Hugh Wheeler

Directed by Cary P. McClelland ’02

Music Directed by Kathleen A. Stetson ’03

Produced by Jeremy W. Blocker ’04, Julian O. Breece ’03, Naomi R. Krakow ’03, Philip W. Michaelsen ’02

Loeb Mainstage

April 26-May 4