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Sweeney Todd: The Demon Barber of Fleet Street

Sweeney Todd: The Demon Barber of Fleet Street is a 1979 musical with music and lyrics by Stephen Sondheim and book by Hugh Wheeler. It is based on the 1970 play Sweeney Todd by Christopher Bond. The character of Sweeney Todd first appeared in a Victorian penny dreadful titled The String of Pearls.

Sweeney Todd opened on Broadway in 1979 and in the West End in 1980. It won the Tony Award for Best Musical and Olivier Award for Best New Musical. It has been revived in many productions and inspired a film adaptation. The original logo for the musical is a modified version of an advertising image from the 19th century, with the sign replaced by a straight razor. There is also a woman wearing a blood-stained dress and holding a rolling pin next to the man.

Background
The character Sweeney Todd originated 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 used in later versions. The murderous barber's story 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.

The musical was based on Christopher Bond's 1970 play Sweeney Todd, which introduced a psychological backstory and motivation to Todd's crimes. In Bond's reincarnation of the character, Todd was the victim of a ruthless judge, who exiled him to Australia and raped his young wife, driving her mad. Stephen Sondheim first conceived of a musical version of the story in 1973, after he saw Bond's take on the story at Theatre Royal Stratford East.

Bond's sophisticated plot and language significantly elevated the lurid nature of the tale. Sondheim once observed, "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, saying later:"What I did to Chris' play is more than enhance it. I had a feeling it would be a new animal. The effect it had at Stratford East in London and the effect it had at the Uris Theater in New York are two entirely different effects, even though it's the same play. It was essentially charming over there because they don't take Sweeney Todd seriously. Our production was larger in scope. Hal Prince gave it an epic sense, a sense that this was a man of some size instead of just a nut case. The music helps to give it that dimension."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 underscoring dialogue. The score is one vast structure, each individual part meshing with others for the good of the entire musical machine. Never before or later in his work did Sondheim utilize music in such an exhaustive capacity to further the purposes of the drama.

Sondheim decided to pair one of the most nightmarish songs (Sweeney Todd's "Epiphany") with the comic-relief of "A Little Priest". This pair of songs at the end of Act I was the most significant musical addition which Sondheim made to Bond's version of the story. In the play, Sweeney Todd's mental collapse and the subsequent plan for Lovett's meat pies take place in less than half a page of dialogue, much too quickly to convey the full psychological impact, in the view of scholar Larry A. Brown. Sondheim's version more carefully reveals the developing ideas in Sweeney Todd and Mrs. Lovett's demented minds.

Sondheim has often said that his Sweeney Todd was about obsession – and close friends seemed to instinctually agree. When Sondheim first played songs from an early version of the show for Judy Prince (wife of the show's director), she told him: "Oh God – I didn't know this was what [Sweeney Todd] was about. It's nothing to do with Grand Guignol. It's the story of your [own] life."

When Sondheim first brought the idea for the show to director Harold Prince, his frequent collaborator, Prince was uninterested, feeling it was a simple melodrama that was not very experimental structurally. However, Prince soon discovered a metaphor in which to set the show, making what Sondheim had originally envisioned as "a small horror piece" into a colossal portrait of the Industrial Revolution, and an examination of the general human condition of the time as it related to men like Sweeney Todd. Said Sondheim, "Hal's metaphor is that the factory turns out Sweeney Todd's. It turns out soulless, defeated, hopeless people. That's what the play's about to him; Sweeney Todd is a product of that age. I think it's not. Sweeney Todd is a man bent on personal revenge, the way we all are in one way or another, and it has nothing whatsoever to do with the time he lived in, as far as I'm concerned." However, Sondheim accepted Prince's vision as a different way to do the show, and as an opportunity to do the show on a large scale, knowing that small-scale productions could be done at any time.

On the stage of the Uris Theater in New York, this tale of horrors was transformed into a mountain of steel in motion. Prince's scenic metaphor for Sweeney Todd was a 19th-century iron foundry moved from Rhode Island and reassembled on the stage, which critic Jack Kroll aptly described as "part cathedral, part factory, part prison, that dwarfed and degraded the swarming denizens of the lower orders".

When it came to casting, Sondheim thought stage veteran Angela Lansbury would add some needed comedy to the grim tale as the lunatic Cockney shopkeeper, but Lansbury needed to be convinced. She was a star and, as she pointed out to Sondheim, "Your show is not called Nellie Lovett, it's called Sweeney Todd. And I'm the second banana." To convince her, Sondheim "auditioned", writing a couple of songs for her, including the macabre patter song, "A Little Priest". And he gave her the key to the character, saying, "I want Mrs. Lovett to have a music hall character." Lansbury, who had grown up in British music halls, immediately got it. "Not just music hall ... but dotty music hall", as she put it. After she was formally confirmed in the role, she relished the opportunity, saying that she loved "the extraordinary wit and intelligence of [Sondheim's] lyrics."

Canadian actor and singer Len Cariou was Sondheim's personal choice to play the tortured barber. In preparation for the role, Cariou (who was studying with a voice teacher at the time) asked Sondheim what kind of range he needed to have in the role. Cariou told him he was prepared to give Sondheim a couple of octaves to deal with, and Sondheim immediately replied, "That would be more than sufficient."

With Prince absorbed in staging the mammoth production, Lansbury and Cariou were left largely to their own when it came to developing their characters. They worked together on all their scenes, both of them creative actors who were experienced in giving intense performances. "That cuckoo style of playing Mrs. Lovett, that was pretty much Angela ... She invented that character", Cariou said. She recalled, "I just ran with it. The wide-openness of my portrayal had to do with my sink or swim attitude toward it. I just figured hell, I've done everything else on Broadway, I might as well go with Mrs. Lovett."

It is said that on opening night Harold Clurman, the doyen of American theatre critics, rushed up to Schuyler Chapin, former general manager of the Metropolitan Opera, demanding to know why he had not put it on at the Met. To which Chapin replied: "I would have put it on like a shot if I'd had the opportunity. There would have been screams and yells but I wouldn't have given a damn. Because it is an opera. A modern American opera."

Synopsis
The citizens of London, who act as a Greek chorus throughout the play, drop a body bag and pour ashes into a shallow grave. Sweeney Todd rises forth ("The Ballad of Sweeney Todd"), and introduces the drama.

Act I
In 1846, young sailor Anthony Hope and the mysterious Sweeney Todd, whom Anthony has recently rescued at sea and befriended, dock in London. A beggar woman sexually solicits them, appearing to recognize Todd for a moment ("No Place Like London"), and Todd shoos her away. Todd obliquely relates some of his troubled past to Anthony: he was a naïve barber, "removed...from his plate" by a corrupt judge who lusted after Todd's wife ("The Barber and His Wife"). Leaving Anthony, Todd enters a meat pie shop on Fleet Street, where the owner, the slatternly widow Mrs. Lovett, laments the scarcity of meat and customers ("Worst Pies in London"). When Todd asks after the empty upstairs apartment, she reveals that its former tenant, Benjamin Barker, was transported for life based on false charges by Judge Turpin, who, along with his servant, Beadle Bamford, then lured Barker's wife Lucy to a masked ball at the Judge's home and raped her ("Poor Thing").

Todd's reaction reveals that he is himself Benjamin Barker. Promising to keep his secret, Mrs. Lovett explains that Lucy poisoned herself with arsenic and that their then-infant daughter, Johanna, became the Judge's ward. Todd swears revenge on the Judge and the Beadle, and Mrs. Lovett presents Todd with his old collection of sterling silver straight razors, which persuades Todd to take up his old profession ("My Friends" and "The Ballad of Sweeney Todd" – reprise). Elsewhere, Anthony spies a beautiful girl singing at her window ("Green Finch and Linnet Bird"), and the beggar woman tells him that her name is Johanna. Unaware that Johanna is his friend Todd's daughter, Anthony is immediately enamored ("Ah, Miss"), and he pledges to return for her, even after the judge and the Beadle threaten him and chase him away ("Johanna").

In the crowded London marketplace, flamboyant Italian barber Adolfo Pirelli and his simple-minded young assistant Tobias Ragg pitch a dramatic cure-all for hair loss ("Pirelli's Miracle Elixir"). Todd and Lovett soon arrive; as part of his plan to establish his new identity, Todd exposes the elixir as a sham, challenges Pirelli to a shaving competition and easily wins ("The Contest"), inviting the impressed Beadle for a free shave ("The Ballad of Sweeney Todd" – reprise 2). Several days later, Judge Turpin flagellates himself in a frenzy over a growing lust for Johanna, but instead resolves to marry her himself ("Johanna – Mea Culpa").

Todd awaits the Beadle's arrival with mounting impatience, but Mrs. Lovett tries to soothe him ("Wait"). When Anthony tells Todd of his plan to ask Johanna to elope with him, Todd, eager to reunite with his daughter, agrees to let them use his barbershop as a safehouse. As Anthony leaves, Pirelli and Tobias enter, and Mrs. Lovett takes Tobias downstairs for a pie. Alone with Todd, Pirelli drops his Italian accent and reveals that he is really Daniel O'Higgins, Benjamin Barker's former assistant. He knows Todd's true identity (having recognized Barker's illustrious shaving tools during their earlier competition) and demands half his income for life. (In the film, the name is not Daniel O'Higgins but "Davy Collins".) Todd kills O'Higgins by slitting his throat ("Pirelli's Death" and "The Ballad of Sweeney Todd" – reprise 3) and temporarily hides his body. Meanwhile, Johanna and Anthony plan their elopement ("Kiss Me"), while the Beadle recommends Todd's grooming services to the Judge so that the judge may better win Johanna's affections ("Ladies in Their Sensitivities").

Panicked at first on learning of Pirelli's murder, Mrs. Lovett swipes his leftover coin purse and then asks Todd how he plans to dispose of the body. Suddenly, the judge enters; Todd quickly seats him and lulls him with a relaxing conversation ("Pretty Women"). Before Todd can kill the judge, however, Anthony re-enters and blurts out his elopement plan. The angry judge storms out, vowing never to return and to send Johanna away. Todd drives Anthony out in a fit of fury and, reminded of the evil he sees in London, resolves to depopulate the city by murdering his future customers since all people deserve to die: the wicked to be punished for their deeds, and the "rest of us" to be relieved of their misery ("Epiphany"). While discussing how to dispose of Pirelli's body, Mrs. Lovett is struck by a sudden idea and suggests that they use the bodies of Todd's victims in her meat pies, and Todd happily agrees ("A Little Priest").

Act II
Several weeks later, Mrs. Lovett's pie shop has become a successful business, and Tobias works there as a waiter. The pies are very popular ("God, That's Good!"). Todd has acquired a special mechanical barber's chair that allows him to kill clients and then send their bodies directly through a chute into the pie shop's basement bakehouse. Casually slitting his customers' necks, Todd despairs of ever seeing Johanna, while Anthony searches London for her ("Johanna – Quartet"). Anthony finds Johanna locked away in a private lunatic asylum, but barely escapes being placed under arrest by the Beadle. After a day of hard work, while Todd remains fixated on his revenge, Mrs. Lovett envisions eloping with Todd and retiring to the seaside ("By the Sea"). Anthony arrives to beg Todd for help to free Johanna, and Todd, revitalised, instructs Anthony to rescue her by posing as a wigmaker intent on purchasing inmates' hair ("Wigmaker Sequence" and "The Ballad..." – reprise 4). However, once Anthony has departed, Todd sends a letter informing the Judge that Anthony will bring Johanna to his shop just after dark, and that he will hand her over ("The Letter") in order to lure him back to the shop.

In the pie shop, Tobias tells Mrs. Lovett of his skepticism about Todd and his own desire to protect her ("Not While I'm Around"). When he recognizes Pirelli's coin purse in Mrs. Lovett's hands, she distracts him by showing him the bakehouse, instructing him how to work the meat grinder and the oven before locking him in. Upstairs, she encounters the Beadle at her harmonium; he has been asked by Lovett's neighbors to investigate the strange smoke and stench from the pie shop's chimney. Mrs. Lovett stalls the Beadle with "Parlor Songs" until Todd returns to offer the Beadle his promised "free shave"; Mrs. Lovett loudly plays her harmonium to cover the Beadle's screams above as Todd dispatches him. In the basement, Tobias discovers hair and fingernails in a pie he has been eating, just as the Beadle's fresh corpse comes tumbling through the chute. Terrified, he flees into the sewers below the bakehouse. Mrs. Lovett then informs Todd that Tobias has found out about their secret and they plot to kill him.

Anthony arrives at the asylum to rescue Johanna, but is exposed when Johanna recognizes him. Anthony draws a pistol given to him by Todd, but cannot bring himself to shoot Jonas Fogg, the corrupt asylum owner; Johanna grabs the pistol and kills Fogg. As Anthony and Johanna flee, the asylum's freed inmates prophesy the end of the world, while Todd and Mrs. Lovett hunt through the sewers for Tobias, and the beggar woman fears what has become of the Beadle ("City on Fire/Searching").

Anthony and Johanna (now disguised as a sailor) arrive at Todd's empty shop. Anthony leaves to seek a coach after he and Johanna reaffirm their love ("Ah Miss" – reprise). Johanna hears the beggar woman entering and hides in a trunk in the barbershop. The beggar woman seems to recognize the room ("Beggar Woman's Lullaby"). Todd enters and tries to force her to leave as she again seems to recognize him. Hearing the Judge outside, a frantic Todd kills the beggar woman, sending her body down the chute barely a moment before the Judge bursts in. Todd assures the Judge that Johanna is repentant, and the judge asks for a quick splash of cologne.

Once he has the Judge in his chair, Todd soothes him with another conversation on women, but this time he alludes to their "fellow tastes, in women at least". The Judge recognizes him as "Benjamin Barker!" just before Todd slashes his throat and sends him hurtling down the chute ("The Judge's Return"). Remembering Tobias, Todd starts to leave, but, realizing he has left his razor behind, returns just as the disguised Johanna rises, horrified, from the trunk. Not recognizing her, Todd attempts to kill her, just as Mrs. Lovett shrieks from the bakehouse below, providing a distraction for Johanna to escape. Downstairs, Mrs. Lovett is struggling with the dying Judge, who clutches at her dress. She then attempts to drag the beggar woman's body into the oven, but Todd arrives and, through a shaft of light, sees the lifeless face clearly for the first time: the beggar woman was his wife Lucy. Horrified, Todd accuses Mrs. Lovett of lying to him. Mrs. Lovett frantically denies it, explaining that Lucy did indeed poison herself, but lived, although the attempt left her insane. Mrs. Lovett then tells Todd she loves him and would be a better wife than Lucy ever could have been. Todd feigns forgiveness, dancing manically with Mrs. Lovett until he hurls her into the oven, burning her alive. Full of despair and in shock, Todd embraces the dead Lucy. Tobias, now insane and his hair turned white, crawls up from the sewer babbling nursery rhymes to himself. He picks up Todd's fallen razor and slits Todd's throat. As Todd falls dead and Tobias drops the razor, Anthony, Johanna and some constables break into the bakehouse. Tobias, heedless of them, begins turning the meat grinder, crooning Mrs. Lovett's previous instructions to him ("Final Scene").

Epilogue
The ensemble cast, soon joined by the risen Todd and Mrs. Lovett, sing a final reprise of "The Ballad of Sweeney Todd" warning against revenge (though admitting that "everyone does it"). Tearing off their costumes, the company exits. Todd sneers at the audience for a moment and vanishes.

Musical numbers

 * Prologue:
 * "Prelude: The Ballad of Sweeney Todd: 'Attend The Tale of Sweeney Todd...'" – Full Cast
 * Act I:
 * "No Place Like London" – Anthony, Todd, Beggar Woman
 * "The Barber and His Wife" – Todd
 * "The Worst Pies in London" – Mrs. Lovett
 * "Poor Thing" – Mrs. Lovett
 * "My Friends" – Todd and Mrs. Lovett
 * "The Ballad of Sweeney Todd: '...Lift Your Razor High, Sweeney!' (Reprise 1)" – Company, Judge, Beadle
 * "Green Finch and Linnet Bird" – Johanna
 * "Ah, Miss" – Anthony, Johanna, Beggar Woman
 * "Johanna" – Anthony
 * "Pirelli's Miracle Elixir" – Tobias, Todd, Mrs. Lovett, Crowd
 * "The Contest (Part 1): Shaving Scene" – Pirelli
 * "The Contest (Part 2): Tooth-Pulling Scene" †& – Pirelli, Tobias
 * "The Ballad of Sweeney Todd: '...Sweeney Pondered and Sweeney Planned...' (Reprise 2)" – Company, Beggar Woman
 * "Wait" – Lovett
 * "Pirelli's Death" – Pirelli
 * "The Ballad of Sweeney Todd: '...His Hands Were Quick, His Fingers Strong...' (Reprise 3)" – Tenor Trio
 * "Johanna (Mea Culpa)" †‡& – Judge Turpin
 * "Kiss Me" – Johanna, Anthony
 * "Ladies In Their Sensitivities"/"Kiss Me (Quartet)" – Beadle, Johanna, Anthony, Judge Turpin
 * "Pretty Women" – Judge, Todd, Anthony
 * "Epiphany" – Todd, Lovett
 * "A Little Priest" – Todd, Lovett

 * Act II:
 * "God, That's Good!" – Tobias, Mrs. Lovett, Todd, Customers
 * "Johanna (Quartet)" – Anthony, Todd, Beggar Woman, Johanna
 * "I Am a Lass" €& – Mrs. Lovett
 * "By the Sea" – Mrs. Lovett and Todd
 * "Wigmaker Sequence"/"The Ballad of Sweeney Todd: '...Sweeney'd Waited Too Long Before...' (Reprise 4)"/"The Letter" – Todd, Anthony, Quintet
 * "Not While I'm Around" – Tobias, Mrs. Lovett
 * "Parlour Songs (Part 1): Sweet Polly Plunkett" – Beadle
 * "Parlour Songs (Part 2): The 12 Bells In Tower of Bray" – Beadle, Lovett, Tobias †
 * "Parlour Songs (Part 3): Sweet Polly Plunkett (Reprise)" – Lovett
 * "Final Sequence":
 * "The Ballad of Sweeney Todd: '...The Engine Roared, The Motor Hissed...' (Reprise 5)"/"Fogg's Asylum"/"City on Fire"/"Searching"/"Ah, Miss (Reprise)"/"Beggar Woman's Lullaby" § / "The Judge's Return" / "The Ballad of Sweeney Todd: '...Lift Your Razor High, Sweeney...' (Reprise 6)"/"Final Scene" – Lunatics, Johanna, Beggar Woman, Lovett, Todd, Anthony, Judge Turpin, Chorus, Tobias

 * Epilogue:
 * "The Ballad of Sweeney Todd: '...Attend The Tale of Sweeney Todd...' (Reprise 7)" – Company, Todd, Lovett (Full Cast)

Notes on the songs:

 * † Despite being cut in previews for reasons of length, these numbers were included on the Original Cast Recording. They have been restored in subsequent productions.
 * ‡ This song was moved to after "The Ballad of Sweeney Todd (Reprise 3) " in the 2000 and 2014 New York Philharmonic concert performances, and on the Original Broadway Cast Album.
 * § This number was written for the original London production and first recorded for the 2000 New York Philharmonic concert performance.
 * € This song is an optional verse of "Sweet Polly Plunkett."
 * & These songs were cut from the 2023 Broadway revival.
 * The song "The Ballad of Sweeney Todd" and its multiple reprises are titled in some productions by their first lyrics to differentiate them from one another:

 * "The Ballad of Sweeney Todd: Attend the Tale of Sweeney Todd"
 * "The Ballad of Sweeney Todd (Reprise): Lift Your Razor High, Sweeney"
 * "The Ballad of Sweeney Todd (Reprise 2): Sweeney Pondered and Sweeney Planned"
 * "The Ballad of Sweeney Todd (Reprise 3): His Hands Were Quick, His Fingers Strong"
 * "The Ballad of Sweeney Todd (Reprise 4): Sweeney'd Waited Too Long Before"
 * "The Ballad of Sweeney Todd (Reprise 5): The Engine Roared, The Motor Hissed"
 * "The Ballad of Sweeney Todd (Reprise 6): Lift Your Razor High, Sweeney"
 * "The Ballad of Sweeney Todd (Reprise 7): Attend the Tale of Sweeney Todd"

 * Sources: SondheimGuide.com & InternetBroadwayDatabase

Notable replacements
Broadway (1979–80)
 * Sweeney Todd: George Hearn, Walter Charles (u/s)
 * Mrs. Lovett: Dorothy Loudon, Denise Lor (u/s), Marge Redmond (u/s)
 * Anthony Hope: Cris Groenendaal
 * Johanna Barker: Betsy Joslyn

West End (1980)
 * Sweeney Todd: Oz Clarke (u/s)

First National Tour (1980–81)

 * Sweeney Todd: Walter Charles (u/s)
 * Mrs. Lovett: Denise Lor (u/s)
 * Judge Turpin: Walter Charles (u/s)

Broadway Revival (1989–90)
 * Anthony Hope: Ted Keegan (s/b)

West End Revival (1993–94)
 * Sweeney Todd: Denis Quilley
 * Judge Turpin: Christopher Benjamin

Broadway Revival (2005–06)
 * Mrs. Lovett: Judy Kaye

London Revival (2012)
 * Adolfo Pirelli: Jason Manford

Broadway Revival (2023–2024)
 * Sweeney Todd: Nicholas Christopher, Aaron Tveit
 * Mrs. Lovett: Jeanna de Waal, Sutton Foster
 * Tobias Ragg: Joe Locke
 * The Beggar Woman: Jeanna de Waal (s/b)

Original Broadway production
The original production premiered on Broadway at the Uris Theatre on March 1, 1979, and closed on June 29, 1980, after 557 performances and 19 previews. Directed by Hal Prince and choreographed by Larry Fuller, the scenic design was by the late Eugene Lee, costumes by Franne Lee and lighting by Ken Billington. The cast included the late Angela Lansbury as Mrs. Lovett, Len Cariou as Todd, Victor Garber as Anthony, the late Sarah Rice as Johanna, Merle Louise as the Beggar Woman, Ken Jennings as Tobias, the late Edmund Lyndeck as Judge Turpin, the late Joaquin Romaguera as Pirelli, and the late Jack Eric Williams as Beadle Bamford. The production was nominated for nine Tony Awards, winning eight including Best Musical. Dorothy Loudon and George Hearn replaced Lansbury and Cariou on March 4, 1980. Other replacements include Cris Groenendaal as Anthony and Betsy Joslyn as Johanna.

Tour and filmed production
The first national U.S. tour started on October 24, 1980, in Washington, D.C. and ended in August 1981 in Los Angeles, California. Lansbury was joined by Hearn and this version was taped during the Los Angeles engagement and broadcast on The Entertainment Channel (one of the predecessors of today's A&E) on September 12, 1982. This performance would later be repeated on Showtime and PBS (the latter as part of its Great Performances series); It was later released on home video through Turner Home Entertainment, and on DVD from Warner Home Video. The taped production was nominated for five Primetime Emmy Awards in 1985, winning three including Outstanding Individual Performance in a Variety or Music Program (for George Hearn).

A North American tour started on February 23, 1982, in Wilmington, Delaware, and ended on July 17, 1982, in Toronto, Ontario. June Havoc and Ross Petty starred.

Original London production
The first London production opened on July 2, 1980, at the West End's Theatre Royal, Drury Lane, starring Denis Quilley and Sheila Hancock along with Andrew C. Wadsworth as Anthony, Mandy More as Johanna, Michael Staniforth as Tobias, Austin Kent as Judge Turpin, Dilys Watling as the Beggar Woman, David Wheldon-Williams as Beadle Bamford, Oz Clarke as Jonas Fogg, and John Aron as Pirelli. The show ran for 157 performances. Despite receiving mixed reviews, the production won the Olivier Award for Best New Musical in 1980. The production closed on November 14, 1980.

1989 Broadway revival
The first Broadway revival opened on September 14, 1989, at the Circle in the Square Theatre, and closed on February 25, 1990, after 189 performances and 46 previews. It was produced by Theodore Mann, directed by Susan H. Schulman, with choreography by Michael Lichtefeld. The cast featured Bob Gunton (Sweeney Todd), Beth Fowler (Mrs. Lovett), Eddie Korbich (Tobias Ragg), Jim Walton (Anthony Hope) and David Barron (Judge Turpin). In contrast to the original Broadway version, the production was designed on a relatively intimate scale and was affectionately referred to as "Teeny Todd." It was originally produced Off-Broadway by the York Theatre Company at the Church of the Heavenly Rest from March 31, 1989, to April 29, 1989. This production received four Tony Award nominations: for Best Revival of a Musical, Best Actor in a Musical, Best Actress in a Musical and Best Direction of a Musical, but failed to win any.

1993 London revival
In 1993, the show received its first London revival at the Royal National Theatre. The production opened originally at the Cottesloe Theatre on June 2, 1993, and later transferred to the Lyttleton Theatre on December 16, 1993, playing in repertory and closing on June 1, 1994. The show's design was slightly altered to fit a proscenium arch theatre space for the Lyttleton Theatre. The director was Declan Donnellan and the Cottesloe Theatre production starred Alun Armstrong as Todd and Julia McKenzie as Mrs. Lovett, with Adrian Lester as Anthony, Barry James as Beadle Bamford and Denis Quilley (who had originated the title role in the original London production in 1980) as Judge Turpin. When the show transferred to the Lyttleton, Quilley and Christopher Benjamin took over the roles of Todd and Turpin respectively. Sondheim praised Donnellan for the "small 'chamber' approach to the show, which was the composer's original vision for the piece." This production received Olivier Awards for Best Musical Revival, Best Actor in a Musical (Armstrong) and Best Actress in a Musical (McKenzie), and Best Director Of A Musical for Donnellan. Adrian Lester and Barry James received nominations in the category of Best Supporting Performance In a Musical for their portrayals of Anthony and Beadle Bamford respectively.

2004 London revival
In 2004, John Doyle directed a revival of the musical at the Watermill Theatre in Newbury, England, running from July 27, 2004, until October 9, 2004. This production subsequently transferred to the West End's Trafalgar Studios and then the Ambassadors Theatre. This production was notable for having no orchestra, with the 10-person cast playing the score themselves on musical instruments that they carried onstage. This marked the first time in nearly ten years that a Sondheim show had been presented in the commercial West End. It starred Paul Hegarty as Todd, Karen Mann as Mrs. Lovett, Rebecca Jackson as The Beggar Woman, Sam Kenyon as Tobias, Rebecca Jenkins as Johanna, David Ricardo-Pearce as Anthony and Colin Wakefield as Judge Turpin. This production closed February 5, 2005.

In spring 2006, the production toured the UK with Jason Donovan as Todd and Harriet Thorpe as Mrs. Lovett.

2005 Broadway revival
A version of the John Doyle West End production transferred to Broadway, opening on November 3, 2005, at the Eugene O'Neill Theatre with a new cast, all of whom played their own instruments, as had been done in London. The cast consisted of: Patti LuPone (Mrs. Lovett/Tuba/Percussion), Michael Cerveris (Todd/Guitar), Manoel Felciano (Tobias/Violin/Clarinet/Piano), Alexander Gemignani (Beadle/Piano/Trumpet), Lauren Molina (Johanna/Cello), Benjamin Magnuson (Anthony/Cello/Piano), Mark Jacoby (Turpin/Trumpet/Percussion), Donna Lynne Champlin (Pirelli/Accordion/Flute/Piano), Diana DiMarzio (Beggar Woman/Clarinet) and John Arbo (Fogg/Double bass). The production ran for 349 performances and 35 previews, and was nominated for six Tony Awards, winning two: Best Direction of a Musical for Doyle and Best Orchestrations for Sarah Travis who had reconstructed Jonathan Tunick's original arrangements to suit the ten-person cast and orchestra. Because of the small scale of the musical, it cost $3.5 million to make, a sum small in comparison to many Broadway musicals and recouped in nineteen weeks. A national tour based on Doyle's Broadway production began on August 30, 2007, with Judy Kaye (who had temporarily replaced LuPone in the Broadway run) as Mrs. Lovett and David Hess as Todd. Alexander Gemignani also played the title role for the Toronto run of the tour in November 2007.

2012 West End revival
Michael Ball and Imelda Staunton starred in a new production of the show that played at The Chichester Festival Theatre, running from September 24 to November 5, 2011. Directed by Jonathan Kent, the cast included Ball as Todd, Staunton as Mrs. Lovett, James McConville as Tobias, John Bowe as Judge Turpin, Robert Burt as Pirelli, Luke Brady as Anthony, Gillian Kirkpatrick as Lucy Barker, Lucy May Barker as Johanna and Peter Polycarpou as Beadle Bamford. It was notably set in the 1930s instead of 1846 and restored the oft-cut song "Johanna (Mea Culpa)". The production received positive reviews from both critics and audience members and transferred to the Adelphi Theatre in the West End in 2012 for a limited run from March 10 to September 22, 2012. Comedian Jason Manford made his musical debut as Pirelli from July 2 to 28 and August 15, 18 and 24, 2012 while Robert Burt appeared at Glyndebourne Festival Opera. The West End transfer received six Laurence Olivier Award nominations of which it won the three: Best Musical Revival, Best Actor in a Musical for Ball and Best Actress in a Musical for Staunton.

2015 London and 2017 Off-Broadway revival
Cameron Mackintosh produced the West End transfer of the Tooting Arts Club production of the show which ran at Harrington's Pie Shop in Tooting, London in October and November 2014. This production takes place in a pie shop that has been recreated for the occasion in Shaftesbury Avenue and ran from March 19 to May 16, 2015. The cast included Jeremy Secomb as Sweeney Todd, Siobhán McCarthy as Mrs. Lovett, Nadim Naaman as Anthony, Ian Mowat as the Beadle, Duncan Smith as the Judge, Kiara Jay as Pirelli and the Beggar Woman, Joseph Taylor as Tobias and Zoe Doano as Johanna.

The Tooting Arts Club production transferred to Off-Broadway, transforming the Barrow Street Theatre into a working re-creation of Harrington's pie shop. Previews began February 14, 2017, before officially opening night on March 1. Like the London production, the transfer was directed by Bill Buckhurst, designed by Simon Kenny and produced by Rachel Edwards, Jenny Gersten, Seaview Productions, and Nate Koch, executive producer, in association with Barrow Street Theatre. The opening night cast featured four members of the London cast: Jeremy Secomb as Sweeney Todd, Siobhan McCarthy as Mrs. Lovett, Duncan Smith as the Judge and, Joseph Taylor as Tobias, alongside Brad Oscar as the Beadle, Betsy Morgan as Pirelli and the Beggar Woman, Matt Doyle as Anthony and Alex Finke as Johanna. In April 2017, five of the cast members left the show, replaced by Norm Lewis as Sweeney Todd, Carolee Carmello as Mrs. Lovett, John-Michael Lyles as Tobias, Stacie Bono as The Beggar Woman and Pirelli, and Jamie Jackson as Judge Turpin. After Norm Lewis left, he was replaced by Hugh Panaro in the titular role. In February 2018, Panaro and Carmello were replaced by Thom Sema and Sally Ann Triplett, respectively. Other changes included Michael James Leslie as Judge Turpin, John Rapson and Matt Leisy as Beadle Bamford, and Zachary Noah Piser as Tobias. The production was extended and closed on August 26, 2018.

2023 Broadway revival
The musical began previews on February 26 and opened on March 26, 2023, at the Lunt-Fontanne Theatre, starring Josh Groban as Sweeney Todd, Annaleigh Ashford as Mrs. Lovett, Jordan Fisher as Anthony, Gaten Matarazzo as Tobias, Maria Bilbao as Johanna, Jamie Jackson reprising his role of Judge Turpin, Ruthie Ann Miles as the Beggar Woman, John Rapson reprising his role of Beadle Bamford, and Nicholas Christopher as Pirelli and the standby for Sweeney Todd. Jeanna de Waal serves as the standby for Mrs. Lovett and the Beggar Woman. The production is directed by Thomas Kail, with restored original orchestrations by Jonathan Tunick, musical supervision by Alex Lacamoire and choreography by Steven Hoggett. Daniel Yearwood succeeded Fisher as Anthony on June 21. Matarazzo departed on November 5. Groban and Ashford departed on January 14, 2024 with Aaron Tveit and Sutton Foster set to star as Todd and Lovett for a 12-week limited run starting February 9 until the closing date of May 5. From January 17 to February 7, Christopher and Paul-Jordan Jansen alternated in the role of Todd with Christopher doing Wednesdays through Saturdays, and Jansen doing Sundays. De Waal and DeLaney Westfall alternated in the role of Lovett with de Waal doing evenings and Sundays, and Westfall doing matinees. Daniel Marconi took over the role of Tobias on November 21, 2023. Joe Locke took over the role of Tobias on January 31, 2024. The production closed on May 5, 2024 after 406 performances and 27 previews. Tveit, Foster, Locke, Yearwood, Miles, Bilbao, Jackson, Rapson, and Christopher starred in the final cast.

The production began a workshop three days after Sondheim's death; he had planned to attend the workshop's final day. The production had a budget of $14 million, with a cast of 26 and an orchestra of 27.

The production is expected to launch a North American national tour in spring 2025. Dates, casting, and cities have not been announced.

1987 Australian productions
The State Opera of South Australia presented Australia's first professional production in Adelaide in September 1987. Directed by Gale Edwards, it featured Lyndon Terracini as Todd, Nancye Hayes as Mrs. Lovett and Peter Cousens as Anthony. The following month, Melbourne Theatre Company's version opened at the Playhouse in Melbourne, directed by Roger Hodgman with Peter Carroll as Sweeney Todd, Geraldine Turner as Mrs. Lovett and Jon Ewing as Judge Turpin. The Melbourne production toured to Sydney and Brisbane in 1988.

1992 Budapest production
The musical was premiered on June 5, 1992, at the Erkel Theater in Budapest, Hungary. The play was translated into Hungarian by Tibor Miklós and György Dénes. The cast consisted of Lajos Miller as Sweeney Todd, Zsuzsa Lehoczky as Mrs. Lovett, Sándor Sasvári as Anthony, Mónika Vásári as Johanna, Róbert Rátonyi as Judge Turpin, Tibor Oláh as Tobias, Péter Kocsmáros as Pirelli, Ildikó Kishonti as Lucy/Beggar woman, and István Rozsos as Beadle Bamford.

1994 Los Angeles revival
In 1994, East West Players in Los Angeles staged a revival of the show directed by Tim Dang, featuring a largely Asian Pacific American cast. It was also the first time the show had been presented in an intimate house (Equity 99-seat). Josh Groban, the original 2023 Sweeney Todd, saw that production. The production received 5 Ovation Awards including the Franklin Levy Award for Best Musical (Smaller Theatre) and Best Director (Musical) for Dang.

1995 Barcelona production
On April 5, 1995, it premiered in Catalan at the theater Poliorama of Barcelona (later moving to the Apollo), in a production of the Drama Centre of the Government of Catalonia. The libretto was adapted by Roser Batalla Roger Pena, and was directed by Mario Gas. The cast consisted of Constantino Romero as Sweeney Todd, Vicky Peña as Mrs. Lovett, Maria Josep Peris as Johanna, Muntsa Rius as Tobias, Pep Molina as Anthony, Xavier Ribera-Vall as Judge Turpin & Teresa Vallicrosa as The Beggar Woman. With critical acclaim and audience applause (Sondheim traveled to Barcelona after hearing the success it was having and was delighted with the production), it later moved to Madrid. The show received over fifteen awards.

1997 Finnish National Opera, Helsinki
The 1997 Finnish National Opera production premiered on September 19, 1997. Directed by Staffan Aspegren and starting Sauli Tiilikainen (Sweeney Todd) and Ritva Auvinen (Mrs. Lovett). Translated by Juice Leskinen

2002 Kennedy Center production
As part of the Kennedy Center Sondheim Celebration, Sweeney Todd ran from May 10, 2002, through June 30, 2002, at the Eisenhower Theatre, starring Brian Stokes Mitchell as Sweeney Todd, Christine Baranski as Mrs. Lovett, Hugh Panaro as Anthony, Walter Charles (a member of the original cast), as Judge Turpin, Celia Keenan-Bolger as Johanna, Mary Beth Peil as The Beggar Woman, Mark Price as Tobias Ragg, Ray Friedeck as Beadle Bamford and Kevin Ligon as Pirelli. It was directed by Christopher Ashley with choreography by Daniel Pelzig.

2007 Dublin production
Irish tenor David Shannon starred as Todd in a highly successful Dublin production of the show at the Gate Theatre, which ran from April 2007 through June 2007. The production employed a minimalistic approach: the cast consisted of a small ensemble of 14 performers, and the orchestra was a seven-piece band. The look of the production was quite abstract. The Sunday Times wrote that "The black backdrop of David Farley's rough hewn set and the stark minimalism of Rick Fisher's lighting suggest a self-conscious edginess, with Shannon's stylised make-up, long leather coat and brooding countenance only adding to the feeling." When a character died, flour was poured over them.

2008 Gothenburg production
The 2008 Gothenburg production premiered on May 15, 2008, at The Göteborg Opera. The show was a collaboration with West End International Ltd. The cast featured Michael McCarthy as Sweeney Todd and Rosemary Ashe as Mrs Lovett and David Shannon this time as Anthony. The show did a four-week run and ended on June 8, 2008.

2009 U.K. and Irish Tour
In 2009, Sweeney Todd embarked upon an equity tour of the U.K. and Ireland. The production was eager to disassociate itself with recent West End backlash regarding Stunt Casting and so the tour was cast through an open call audition process. Whilst it remained unclear if the casting of predominantly unknown actors helped the tour, the production was applauded for its use of emerging performers and played to almost exclusively sold-out venues.

The tour ran for 8 months, starring Barry Howell as Sweeney Todd & Isabell Wyer as Ms. Lovett. The cast was completed by Alex Priat as Anthony, John Atkins as Judge Turpin, Carol Gizzard as Johanna, Sharian Wood as The Beggar Woman, Jack Leager as Beadle Bamford, Enrielos Hetares as Pirelli and Michael Greene & James Feldere who shared the role of Tobias.

2010 National Youth Music Theatre, London
In 2010, fifty members of the National Youth Music Theatre staged a production at the Village Underground as part of Stephen Sondheim's 80th birthday celebrations in London. NYMT took the show, directed by Martin Constantine, out of a conventional theatre space and staged it within a converted Victorian warehouse in the city's East End. The company revived the show in 2011 for the International Youth Arts Festival at the Rose Theatre in Kingston upon Thames.

2011 Paris production
A major new production opened in April 2011 at the Théâtre du Châtelet (Paris), which first gave Sondheim a place on the French stage with their production of A Little Night Music. The director was Lee Blakeley with choreography by Lorena Randi and designs by Tanya McAllin. The cast featured Rod Gilfry and Franco Pomponi (Sweeney Todd) and Caroline O'Connor (Mrs Lovett).

2014 Boston production
The Lyric Stage Company of Boston produced a run in September and October 2014 with the company's Artistic Director Spiro Veloudos staging and directing the show. The cast included Christopher Chew as Sweeney Todd and Amelia Broome as Mrs. Lovett.

2014 Quebec City production
Quebec City-based Théâtre Décibel produced the French-speaking world-premiere of the show. Translated by Joëlle Bond and directed by Louis Morin, the show played from October 28 to November 8, 2014, at the Capitole de Québec. The cast includes Renaud Paradis as Sweeney Todd, Katee Julien as Mrs. Lovett, Jean Petitclerc as Judge Turpin, Sabrina Ferland as the Beggar Woman, Pierre-Olivier Grondin as Anthony Hope, Andréane Bouladier as Johanna, David Noël as Tobias, Jonathan Gagnon as Beadle and Mathieu Samson as Pirelli.

2014 prog metal version, Landless Theatre Company, Washington, D.C.
Sondheim grants DC's Landless Theatre Company permission to orchestrate a "prog metal version" of Sweeney Todd, the first rock orchestration of the score. The production played at DC's Warehouse Theatre in August 2014, directed by Melissa Baughman with music direction by Charles W. Johnson and prog metal orchestration by The Fleet Street Collective (Andrew Lloyd Baughman, Spencer Blevins, Charles Johnson, Lance LaRue, Ray Shaw, Alex Vallejo, Andrew Siddle). The cast featured metal band front singers Nina Osegueda (A Sound of Thunder) as Mrs. Lovett, Andrew Lloyd Baughman (Diamond Dead) as Sweeney Todd, Rob Bradley (Aries and Thrillkiller) as Pirelli, and Irene Jericho (Cassandra Syndrome) as Beggar Woman. The show received three 2015 Helen Hayes Awards nominations for Best Musical, Outstanding Director of a Musical (Melissa Baughman), and Outstanding Music Director (Charles W. Johnson). The prog metal adaptation was revived by Landless Theatre in 2023 with Osegueda, Baughman, and Bradley reprising their roles, and also featuring Jason Heintrich as Judge Turpin and Brad Van Grack as Beadle Bamford.

2015 Welsh National Opera production
In autumn 2015 the Welsh National Opera and Wales Millennium Centre produced a co-production with West Yorkshire Playhouse and the Royal Exchange Manchester as part of the WNO's "Madness" season. Directed by James Brining and designed by Colin Richmond, the production was set in the 1970/80s, and was performed in Cardiff before touring to Southampton, Bristol, Llandudno, Oxford, Liverpool, Birmingham before returning to Cardiff. It was based on Brining's previous smaller productions from Dundee Rep in 2010, West Yorkshire Playhouse and Royal Exchange Manchester in 2013. The cast included David Arnsperger as Sweeney Todd, Janis Kelly as Mrs. Lovett, and Jamie Muscato as Anthony.

2015 South African revival
Pieter Toerien and KickstArt produced a production at the Pieter Toerien Monte Casino Theatre in Johannesburg, which ran from October 10 – December 13, 2015, before transferring to the Theatre on the Bay in Cape Town from February 19 – April 9, 2016. Directed by Steven Stead and designed by Greg King, the production starred Jonathan Roxmouth (Sweeney Todd), Charon Williams-Ros (Mrs Lovett), Michael Richard (Judge Turpin), Jaco van Rensburg (Tobias), Anne Marie Clulow (Beggar Woman), Adam Pelkowitz (Beadle Bamford), Cameron Botha (Anthony), Sanli Jooste (Johanna), Germandt Geldenhuys (Adolfo Pirelli), and Weslee Swain Lauder (Jonas Fogg).

2015–2016 Australasia
In 2015, Victorian Opera's production was performed at the Melbourne Arts Centre. The production was revived for New Zealand Opera in 2016, visiting Auckland, Wellington and Christchurch.

The production starred Teddy Tahu Rhodes as Sweeney Todd, Antoinette Halloran as Mrs. Lovett, Phillip Rhodes as Judge Turpin, Kanen Breen as Beadle Bamford (later replaced by Andrew Glover during the New Zealand tour), David Rogers-Smith as Adolfo Pirelli (replaced by Robert Tucker in New Zealand), Ross Hannaford as Tobias Ragg (replaced by Joel Grainger in New Zealand), Blake Bowden as Anthony Hope (replaced James Benjamin Rodgers in New Zealand), Amelia Berry as Johanna, Dimity Shepherd as the Beggar Woman (replaced by Helen Medlyn in New Zealand), and Jeremy Kleeman as Jonas Fogg.

2018 Mexican production
Valtru produced the first Mexican production of Sweeney Todd. Opened on July 7, 2018, at the Foro Cultural Coyoacanense's starring Lupita Sandoval and Beto Torres along with José Andrés Mojica, Mario Beller, Eduardo Ibarra, Alejandra Desiderio, Sonia Monroy, Daniel Paéz and Adrian Mejia.

2019 Australia production
In June 2019, for the show's 40th anniversary, a limited run of the production presented by Life Like Company was performed at Her Majesty's Theatre, Melbourne and Darling Harbour Theatre, ICC Sydney. It starred Anthony Warlow as Sweeney Todd, Gina Riley as Mrs. Lovett, Debra Byrne as the Beggar Woman, Michael Falzon as Adolfo Pirelli, Jonathan Hickey as Tobias Ragg, and Daniel Sumegi as Judge Turpin.

2019 Philippines
Produced by Atlantis Theatrical Entertainment Group and directed by Bobby Garcia with musical direction by Gerard Salonga, it starred Jett Pangan as Sweeney Todd, Lea Salonga as Mrs. Lovett, Gerald Santos as Anthony Hope, Nyoy Volante as Adolfo Pirelli, Mikkie Bradshaw-Volante as Johanna, Ima Castro as the Beggar Woman, Andrew Fernando as Judge Turpin, Luigi Quesada as Tobias, Arman Ferrer as Beadle, and Dean Rosen as Jonas Fogg. The production debuted in October at The Theater at Solaire.

Opera house productions
The first opera company to mount Sweeney Todd was the Houston Grand Opera in a production directed by Hal Prince, which ran from June 14, 1984, through June 24, 1984, for a total of 10 performances. Conducted by John DeMain, the production used scenic designs by Eugene Lee, costume designs by Franne Lee, and lighting designs by Ken Billington. The cast included Timothy Nolen in the title role, Joyce Castle as Mrs. Lovett, Cris Groenendaal as Anthony, Lee Merrill as Johanna, Will Roy as Judge Turpin, and Barry Busse as The Beadle.

In 1984 the show was presented by the New York City Opera. Hal Prince recreated the staging using the simplified set of the 2nd national tour. It was well received and most performances sold out. It was brought back for limited runs in 1986 and 2004. Notably the 2004 production starred Mark Delavan and Elaine Paige. The show was also performed by Opera North in 1998 in the UK starring Steven Page and Beverley Klein, directed by David McVicar and conducted by James Holmes.

In the early 2000s, Sweeney Todd gained acceptance with opera companies throughout the United States, Canada, Japan, Germany, Israel, Spain, the Netherlands, the United Kingdom and Australia. Bryn Terfel, the popular Welsh bass-baritone, performed the title role at Lyric Opera of Chicago in 2002, with Judith Christian, David Cangelosi, Timothy Nolen, Bonaventura Bottone, Celena Shaffer and Nathan Gunn. It was performed at the Royal Opera House in London as part of the Royal Opera season (December 2003 – January 2004) starring Sir Thomas Allen as Todd, Felicity Palmer as Mrs. Lovett and a supporting cast that included Rosalind Plowright, Robert Tear and Jonathan Veira as Judge Turpin. The Finnish National Opera performed Sweeney Todd in 1997–98. The Israeli National Opera has performed Sweeney Todd twice. The Icelandic Opera performed Sweeney Todd in the fall of 2004, the first time in Iceland. On September 12, 2015, Sweeney Todd opened at the San Francisco Opera with Brian Mulligan as Todd, Stephanie Blythe as Mrs. Lovett, Matthew Grills as Tobias, Heidi Stober as Johanna, Elliot Madore as Anthony and Elizabeth Futral as the Beggar Woman/Lucy. In 2019, Sweeney Todd opened at the Copenhagen Opera House.

Concert productions
A "Reprise!" Concert version was performed at Los Angeles' Ahmanson Theatre on March 12–14, 1999 with Kelsey Grammer as Todd, Christine Baranski as Mrs. Lovett, Davis Gaines as Anthony, Neil Patrick Harris as Tobias, Melissa Manchester as The Beggar Woman, Roland Rusinek as The Beadle, Dale Kristien as Johanna and Ken Howard as Judge Turpin.

London's Royal Festival Hall hosted two performances on February 13, 2000, starring Len Cariou as Todd, Judy Kaye as Mrs. Lovett, and Davis Gaines as Anthony. A 4-day concert took place in July 2007 at the same venue with Bryn Terfel, Maria Friedman, Daniel Boys and Philip Quast.

Director Lonny Price directed a semi-staged concert production of "Sweeney Todd in Concert" on May 4–6, 2000 at Avery Fisher Hall at Lincoln Center, New York with the New York Philharmonic. The cast included George Hearn (a last-minute substitute for Bryn Terfel) in the title role, alongside Patti LuPone (Mrs. Lovett), Neil Patrick Harris (Tobias), Davis Gaines (Anthony), John Aler, Paul Plishka, Heidi Grant Murphy (Johanna), Stanford Olsen (Pirelli) and Audra McDonald (Beggar-Woman/Lucy). This concert also played in San Francisco, from July 19–21, 2001, with the San Francisco Symphony. Hearn and LuPone were joined once again by Harris, Gaines, Aler and Olsen as well as new additions Victoria Clark, Lisa Vroman and Timothy Nolen. This production was taped for PBS and broadcast in 2001, and won the Primetime Emmy Award for Outstanding Classical Music-Dance Program. The same production played at the Ravinia Festival in Chicago on August 24, 2001, with most of the cast from the preceding concerts, except for Plishka and Clark, who were replaced by Sherrill Milnes and Hollis Resnik.

In 2014, Price directed a new concert production, returning to Avery Fisher Hall with the New York Philharmonic on March 5–8 with Bryn Terfel as Todd, Emma Thompson as Mrs. Lovett, Philip Quast as Judge Turpin, Jeff Blumenkrantz as The Beadle, Christian Borle as Pirelli, Kyle Brenn as Tobias, Jay Armstrong Johnson as Anthony, Erin Mackey as Johanna and Audra McDonald and Bryonha Marie Parham sharing the role of The Beggar Woman. McDonald was not announced as the Beggar Woman: she was a surprise, her name only being revealed at the time of the first performance. On the Saturday performances, Bryonha Marie Parham played the role of the Beggar Woman, while McDonald played it at the other performances. The concert was again filmed for broadcast on PBS as part of their Live from Lincoln Center series and was first aired on September 26, 2014. The production was nominated for three Primetime Emmy Awards, winning one for Outstanding Special Class Program. This production transferred to London Coliseum Theatre for 13 performances from March 30 through April 12, 2015. The cast included original members like Terfel, Thompson and Quast, as well as new actors like John Owen-Jones and Rosalie Craig.

Film adaptation
A feature film adaptation of Sweeney Todd, directed by Tim Burton with a screenplay by John Logan, was released on December 21, 2007. It stars Johnny Depp as Todd (Depp received an Oscar nomination and a Golden Globe Award for his performance), Helena Bonham Carter as Mrs. Lovett, Alan Rickman as Judge Turpin, Sacha Baron Cohen as Signor Pirelli, Jamie Campbell Bower as Anthony Hope, Laura Michelle Kelly as The Beggar Woman, Jayne Wisener as Johanna, Ed Sanders as Tobias, and Timothy Spall as Beadle Bamford. The film was well received by critics and theatregoers and also won the Golden Globe Award for Best Motion Picture – Musical or Comedy.

Themes
Stephen Sondheim believed that Sweeney Todd is a story of revenge and how it consumes a vengeful person. He asserted, "what the show is really about is obsession". Unlike most previous representations of the story, the musical avoids a simplistic view of devilish crimes. Instead, the characters' "emotional and psychological depths" are examined, so that Sweeney Todd is understood as a victim as well as a perpetrator in the "great black pit" of humanity.

Musical analysis
Sondheim's score is one of his most complex, with orchestrations by his long-time collaborator Jonathan Tunick. Relying heavily on counterpoint and angular harmonies, its compositional style has been compared to Maurice Ravel, Sergei Prokofiev, and Bernard Herrmann. Sondheim also utilizes the ancient "Dies irae" in the ballad that runs throughout the score, later heard in a melodic inversion, and in the accompaniment to "Epiphany". According to Raymond Knapp, "Most scene changes bring back 'The Ballad of Sweeney Todd', which includes both fast and slow versions of the 'Dies Irae'". He also relies heavily on leitmotif – at least twenty distinct ones can be identified throughout the score.

Depending on how and where the show is presented, it is sometimes considered an opera. Sondheim himself has described the piece as a "black operetta", and indeed, only about 20% of the show is spoken; the rest is sung-through.

In his essay for the 2005 cast album, Jeremy Sams finds it most relevant to compare Sondheim's work with operas that similarly explore the psyche of a mad murderer or social outcast, such as Alban Berg's Wozzeck (1925, based on the play by Georg Büchner) and Benjamin Britten's Peter Grimes (1945). On the other hand, it can be seen as a precursor to the later trend of musicals based on horror themes, such as Little Shop of Horrors (1982), The Phantom of the Opera (1986), Jekyll & Hyde (1997) and Dance of the Vampires (1997), which used the description of the trend, "grusical", as its commercial label. Theatre critic and author Martin Gottfried wrote on this subject: "Does so much singing make it an opera? Opera is not just a matter of everything being sung. There is an operatic kind of music, of singing, of staging. There are opera audiences, and there is an opera sensibility. There are opera houses. Sweeney Todd has its occasional operatic moments, but its music overall has the chest notes, the harmonic language, the muscularity, and the edge of Broadway theater."

Donal Henahan wrote an essay in The New York Times concerning the 1984 New York City Opera production: "The difficulty with Sweeney was not that the opera singers were weaklings incapable of filling the State Theater with sound – Miss Elias, who was making her City Opera debut, has sung for many years at the Metropolitan, a far larger house. The other voices in the cast also were known quantities. Rather, it seemed to me that the attempt to actually sing the Sondheim score, which relies heavily on a dramatic parlando or speaking style, mainly showed how far from the operatic vocal tradition the work lies. The score, effective enough in its own way, demanded things of the opera singers that opera singers as a class are reluctant to produce."

Orchestration
The original Broadway pit consisted of a 26-piece orchestra. (The number of percussionists may vary for different shows, though the percussion book is written for two players).
 * Strings: 6 violins, 2 violas, 2 cellos, 1 double bass
 * Brass: 2 trumpets, 1 French horn, 2 trombones, 1 bass trombone
 * Keyboards/Harp: 1 organ/celesta, 1 harp
 * Woodwinds:
 * Reed 1: flute, piccolo, optional soprano and alto recorders
 * Reed 2: B♭ and E♭ clarinet, flute, piccolo
 * Reed 3: bass clarinet, B♭ clarinet
 * Reed 4: oboe, English horn
 * Reed 5: bassoon
 * Percussion: (2 players) 3 timpani, bass drum, xylophone, vibraphone, snare drum, tom toms, bass drum with pedal, orchestra bells, tam-tam, chimes, 4 suspended cymbals, wood block, crash cymbals, bell tree, tambourine, washtub

An alternate orchestration is available from Music Theatre International for a 9 piece orchestra. It was written by Jonathan Tunick for the 1993 London Production.
 * Strings: 1 violin, 1 cello, 1 double bass
 * Brass: 1 trumpet in B♭, 1 French horn
 * Woodwinds: Reed 1: clarinet; Reed 2: bassoon
 * Keyboard
 * Percussion: bass drum, bell tree, bells, chimes, crotales, rachet, side drum, snare drum, Swiss bell, tam-tam, tambourine, temple blocks, triangle, timpani, vibraphone, whistle, wood block, xylophone

Original orchestrator Jonathan Tunick revised his large orchestration for the 1993 London revival, adding a dirtier, grittier texture to the score's arrangements.

2012 London revival: 15 piece orchestra:
 * Strings: 2 violins, 1 viola, 1 cello, 1 double bass
 * Brass: 1 French horn, 2 trumpets, 1 trombone
 * Woodwinds:
 * Reed 1: flute, clarinet
 * Reed 2: oboe, English horn
 * Reed 3: clarinet
 * Reed 4: bassoon
 * Keyboard
 * Percussion

Recordings and broadcasts
An original Broadway cast recording was recorded at RCA's New York City studios and released by RCA Red Seal in 1979. It included the Judge's "Johanna" and the tooth-pulling contest from Act I, which had been cut in previews. It was selected by the National Recording Registry for preservation in 2013.

A performance of the 1980 touring company was taped before an audience in 1981 at the Dorothy Chandler Pavilion in Los Angeles during the first national tour, with additional taping done in an empty theatre for a television special. The resulting program was televised on September 12, 1982, on The Entertainment Channel. It was later released on both VHS and DVD.

On 2 July 1994, the Royal National Theatre revival production starring Denis Quilley and Julia McKenzie was broadcast by the BBC. Opera North's production was also broadcast by the BBC on March 30, 1998, as was the Royal Opera House production in 2003.

In 1995, the Barcelona cast recorded a cast album sung in Catalan. This production was also broadcast on Spanish television.

The 2000 New York City Concert was recorded and released in a deluxe 2-CD set. This recording was nominated for the Grammy Award for Best Musical Show Album.

In 2001, the same concert was held in San Francisco with the same leads and minor cast changes. It was also videotaped and broadcast on PBS, and then was released to VHS and DVD in 2001.

The 2005 Broadway revival also was recorded. The producers originally planned only a single-disk "highlights" version; however, they soon realized that they had recorded more music than could fit on one disk and it was not financially feasible to bring the performers back in to re-record. The following songs were cut: "Wigmaker Sequence", "The Letter", "Parlor Songs", "City on Fire", and half of the final sequence (which includes "The Judge's Return"). This recording was nominated for the Grammy Award for Best Musical Show Album.

The 2012 London revival was recorded and released on April 2, 2012, in the UK and April 10, 2012, in the United States.

The 2023 Broadway revival cast recording was released on September 8, 2023. This followed the release of eight single tracks from the recording, beginning on May 8 of the same year with "The Ballad of Sweeney Todd (Opening)." The final single, "God, That's Good!" was released on September 7, just one day before the album's full release. The album's full track list, slightly modified from the original cast recording, was released on August 21. The only songs missing from the recording are "The Ballad of Sweeney Todd (Reprises 2-5)," Pirelli's Death," "Wigmaker Sequence," (save for "The Letter"), "Parlor Songs (Parts 2 and 3)", and "Fogg's Asylum." This recording was nominated for the Grammy Award for Best Musical Show Album.


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Karabakh Khanate

The Karabakh Khanate (also spelled Qarabagh; ; Карабахское ханство) was a khanate under Iranian and later Russian suzerainty, which controlled the historical region of Karabakh, now divided between modern-day Armenia and Azerbaijan. In terms of structure, the Karabakh Khanate was a miniature version of Iranian kingship. The administrative and literary language in Karabakh until the end of the 19th century was Persian, with Arabic being used only for religious studies, despite the fact that most of the Muslims in the region spoke a Turkic dialect.

It was governed by members of the Javanshir, a Turkic tribe which lived in the lowlands of the region. In 1747, the Javanshir chieftain Panah Ali Khan capitalized on the turmoil that erupted after the death of the Iranian shah (king) Nader Shah ((r. 1736 – 1747)) by seizing most of Karabakh. The following year he declared his allegiance to Nader Shah's son and successor Adel Shah ((r. 1747 – 1748)), who officially appointed him khan of Karabakh. Panah Ali Khan's tenure was marked by building activities (such as the castles of Bayat, Shah-Bulaghi, and Panahabad) and the subjugation of four of the melikdoms through the assistance of his new ally, Shahnazar II, the melik (prince) of Varanda.

In 1762, Panah Ali Khan acknowledged the authority of the Zand ruler Karim Khan Zand ((r. 1751 – 1779)), who had established his authority in most of Iran. The latter took Panah Ali Khan hostage to Shiraz and appointed his son Ibrahim Khalil Khan as the new khan. Following Karim Khan's death in 1779, Ibrahim Khalil Khan strived to maintain his autonomy by allying himself with the Georgian king Heraclius II and making contact with the Russian Empire, even briefly submitting to the latter. Because of his defiance, he was in 1797 ousted from Karabakh by Agha Mohammad Khan Qajar, the new ruler of Iran. Following Agha Mohammad Khan's assassination in Shusha the same year, Ibrahim Khalil Khan restored his authority in Karabakh. He established friendly relations with Agha Mohammad Khan's successor Fath-Ali Shah Qajar ((r. 1797 – 1834)), who married his daughter and confirmed him as the khan of Karabakh. In May 1805, he submitted to the Russians, signing the Treaty of Kurekchay, which granted them full authority over Karabakh's external affairs in exchange for a yearly payment.

Soon finding himself in a difficult position, Ibrahim Khalil Khan rejoined the Iranians. However, he was shortly afterwards murdered by a group of Russian soldiers under the instigation of his grandson Ja'far Qoli Agha and the Russian garrison leader. The Russians subsequently confirmed Ibrahim Khalil Khan's son Mehdi Qoli Khan as the khan, although real power was held by the Russians. By signing the Treaty of Gulistan in 1813, Iran officially ceded most of their Caucasian holdings (including Karabakh) to Russia. In 1822, Mehdi Qoli Khan fled to Iran as a result of the attempts by the Russian general Aleksey Petrovich Yermolov to abolish the khanates, which occurred afterwards.

Background
Karabakh is a historic region located in the Armenian highlands in the South Caucasus. The area was originally considered the southern part of Arran and was mostly inhabited by Armenians. However, due to Turkic and Mongol invasions, the Armenians there became a minority in the 11th century, and by the 14th century, the Turko-Persian name Karabakh ("Black Garden") started slowly replacing the name of the area. Many of the surviving Armenian nobles and their followers resettled in the highlands of Karabakh, where they continued to have authority. The population of the Armenians in the lowlands was further dwindled by Timur's conquests and invasions of Turkmen tribes in the 14th and 15th centuries. By the early 16th century, Armenia had become a focal point of the constant wars between the Ottoman Empire (c. 1299–1922) and Safavid Iran (1501–1736), which further reduced the Armenian population.

The Safavids divided their Armenian territories into two provinces ruled by a beglarbegi (governor-general), Karabakh and Erivan. The Iranian-ruled part of Armenia was known as Iranian Armenia or Eastern Armenia, whilst the Ottoman part was known as Ottoman Armenia or Western Armenia. The lowlands of Karabakh were dominated by nomadic Turkic tribes, who moved to the hillsides in search of suitable pastures throughout the summer. The highlands of Karabakh were dominated by Armenian meliks (princes), who had established five melikdoms (Dizak, Gulistan, Jraberd, Khachen and Varanda) that ruled in Karabakh. These Armenian-ruled principalities, which upheld the notion of Armenian statehood, were used by the Safavids to fight the Ottoman Empire.

From 1554 and onwards, the governorship of both Karabakh and its capital Ganja was held by the Ziyadoghlu family of the Turkic Qajar tribe. Following the collapse of the Safavid regime in 1722, the governorship was divided into two distinct areas, each controlled by a local clan. It was during this period that Panah Ali Khan distinguished himself. He was the leader of the Turkic Javanshir tribe, which now dominated the lowlands of Karabakh, as well as the Otuziki and Kebirlu tribal federation. The Safavid-era historian Iskandar Beg Munshi (died c. 1632) reported that the Javanshir did not belong to the seven principal Qizilbash tribes, but instead a lower-ranking group referred to as the "gholam amirs". According to the Rowzat-al-Safa Naseri, the later leaders of the Javanshir belonged to the Sarijalu tribe as they had taken over the leadership of the Javanshir. For decades, the Javanshir had moved its sheep to Karabakh, where they had given the meliks an annual tax in exchange for access to summer pasturage. Karabakh thus held immense significance for the tribe.

In 1723, the Ottomans invaded Iran, conquering most of its northeastern part by 1724. Karabakh and Zangezur were the only parts of Iranian Armenia which managed to fend off the Ottomans, under the leadership of Davit Bek, who led the Armenian meliks. Although Davit Bek died between 1726 and 1728, his successors managed to maintain their control over most of the highlands until the resurgence of Iran, now led by Nader Khan Afshar, who repelled the Ottomans in 1735. The following year, he crowned himself as Nader Shah, marking the foundation of the Afsharid dynasty.

Nader Shah rewarded the meliks by acknowledging Karabakh and Zangezur as semi-autonomous regions. He had Iranian Armenia organized into four khanates; Erivan, Nakhchivan, Ganja, and Karabakh. A khanate was a type of administrative unit governed by a hereditary or appointed ruler subject to Iranian rule. The title of the ruler was either beglarbegi or khan, which was identical to the Ottoman rank of pasha. Nader Shah also forced several Turkic tribes (including the Javanshir) to mainland Iran in order to guarantee their allegiance. Panah Ali Khan's son Ibrahim Khalil Khan and the rest of the Javanshir tribe were forced to resettle in Khorasan. Panah Ali Khan was an exception, as he was kept hostage. However, following the execution of his brother Behbud Ali Beg in c. 1744, Panah Ali Khan escaped to the Lezgins, where he concealed himself from Nader Shah.

Panah Ali Khan
Following Nader Shah's assassination in 1747, Iran fell into turmoil, especially in the South Caucasus. There the Georgians and local khans fought over land. Some Turkic tribes took advantage of his death by restoring their power in Iranian Armenia. The Qajars restored their power in Ganja, Erivan and Nakhchivan, while Panah Ali Khan seized control over all of Karabakh, with the exception of the five melikdoms. Ibrahim Khalil Khan and the rest of the Javanshir tribe had also returned to Karabakh. In 1748, Panah Ali Khan declared his allegiance to Nader Shah's son and successor Adel Shah ((r. 1747 – 1748)), who officially appointed him khan of Karabakh.

Shortly afterwards, Panah Ali Khan had the Bayat Castle constructed, in which he housed his entire family, his retinue, dignitaries, and numerous tribal leaders. Panah Ali Khan soon fell into a conflict with Haji Chalabi Khan, the khan of the Shaki Khanate. He occasionally attempted to form an alliance with Georgia in an effort to restrain Haji Chalabi Khan's goals, but his efforts were ineffective. In 1752, Panah Ali Khan relocated everyone from Bayat to the newly constructed Shah-Bulaghi stronghold, which brought him within close proximity of the highlands ruled by the five Armenian melikdoms. Panah Ali Khan made an alliance with Shahnazar II, the melik of Varanda, while he imposed his authority on the remaining meliks and made their subjects pay him taxes. Both Armenian sources and the Javanshir historian Mirza Jamal Javanshir agree that it was through the efforts of Shahnazar II (who was in conflict with the other meliks) that Panah Ali Khan gained access to the highlands and started attacking the meliks.

Together, Panah Ali Khan and Shahnazar II had the Panahabad fortress constructed in Shusha, a place in Varanda. Panah Ali Khan relocated the notables, dignitaries, and tribal leaders there. The power of the Javanshir became centered in that stronghold, which would withstand many sieges. The nature of the Javanshir khans' patron-client relationship with Shahnazar II is unclear, but it appears that their control of the fortress was restricted to its southern part, which was its Muslim sector. In 1757, the Qajar chieftain Mohammad Hasan Khan Qajar made an unsuccessful attempt at capturing Shusha. Panah Ali Khan afterwards captured the city of Ardabil and installed his clansman Dargah-Qoli Beg Javanshir its governor, though it is uncertain how long he held the post. Nazar Ali Khan Shahsevan is later recorded as its governor under the Zand ruler Karim Khan Zand ((r. 1751 – 1779)). In the spring or summer of 1761, the Afshar chieftain Fath-Ali Khan Afshar besieged Shusha. Panah Ali Khan made him lift the siege by giving Ibrahim Khalil Khan as hostage.

By 1762, Karim Khan had established his authority across most of Iran, and was eventually acknowledged by Georgia and the various khans of the South Caucasus as their suzerain. This included Panah Ali Khan, who along with some other khans was taken hostage to the city of Shiraz, where he died.

Consolidation of power
Karim Khan subsequently appointed Ibrahim Khalil Khan as the new khan of Karabakh. Following Karim Khan's death on 1 March 1779, however, a power struggle ensured amongst his kinsmen. Ibrahim Khalil Khan took advantage on the chaos that followed by pursuing his own goals. He enhanced his standing by forging an alliance with Heraclius II, the king of Eastern Georgia (Kartli-Kakheti). Agha Mohammad Khan Qajar, the future shah of Iran, had been a nominal hostage of Karim Khan in Shiraz and was entirely preoccupied with establishing his authority and eliminating rivals in Iran. As they battled to preserve their autonomy at a time when the Iranians and Russians wanted to incorporate the eastern Caucasus under their own empires, Georgia and Karabakh's partnership turned out to be highly beneficial for both of them.

Capitalizing on the turmoil in Iran, as well as the Ottomans inability to confront Russia, a group of Russians politicians, led by the military leader and statesman Grigory Potemkin, convinced the Russian empress Catherine II ((r. 1762 – 1796)) to agree to a bilateral treaty (the Treaty of Georgievsk) with Heraclius in 1783. Heraclius, who was worried of reinstatement of fidelty to Iran, agreed to the terms of the treaty, which was to renounce his loyalty to Iran in return for Russian protection. This treaty strained the relationship between Heraclius and Ibrahim Khalil Khan, who also attempted to get in contact with the Russians, but was ignored by Catherine II, as she did not want to get embroiled in the conflict between the khans.

Ibrahim Khalil Khan continued his fathers efforts to dominate all of Karabakh, succeeding in retaining Shahnazar II's support and also married his daughter. He also took Melik Bakhtam of Dizak hostage and had him sent to Ardabil in mainland Iran, which Dizak was incorporated into. Ibrahim Khalil also captured both Melik Abov of Gulistan and Melik Medjlum of Jraberd and granted their domains to others.

First conflict with Agha Mohammad Khan Qajar
The Russo-Turkish War of 1787–1792 caused the Russian troops to abandon the city of Tiflis at the same time as Agha Mohammad Khan's authority in Iran was growing. Since the time of the first Safavid shah (king) Ismail I ((r. 1501 – 1524)), the Iranian shahs had declared rulership over parts of the Caucasus. This included Nader Shah, Karim Khan and now Agha Mohammad Khan. The neighboring khanates were still seen as Iranian dependencies even when the shahs in mainland Iran lacked the power to enforce their rule in the area. Likewise, Agha Mohammad Khan also considered Georgia to be an Iranian province. He issued threatening letters to the khans who had established connections with Russia in an effort to reestablish Iranian dominance over the border districts. In 1792/93, Agha Mohammad Khan assigned his lieutenant Soleyman Khan Qajar with the task of putting an end to any opposition against his authority.

Instead of going in person, Ibrahim Khalil Khan dispatched his nephew Abd al-Samad Beg to deliver presents and offerings to Soleyman Khan in the city of Tabriz. He also asked for a deadline of the summer to prepare to make the trip himself. Soleyman Khan took Abd al-Samad as his captive, and by the end of November 1793 went to the Mazandaran region before making his way to the city of Tehran. Abd al-Samad was later part of the retinue that accompanied Agha Mohammad Khan during his siege of the city of Kerman. During the siege, Abd al-Samad made an attempt to escape to Karabakh, but was captured and killed near Tehran. This incident upset Ibrahim Khalil, who continued to make excuses to avoid meeting Agha Mohammad Khan.

Agha Mohammad Khan was prepared to reinstate Iranian rule in the southeastern Caucasus by the summer of 1795. He was unafraid to engage the Russians, a trait he retained throughout, and neither the Treaty of Georgievsk nor Russian activity in the southeastern Caucasus seemed to discourage him. His 60,000 soldiers, which was primarily made up of cavalry, advanced into the area in the summer of that year. The first few months were spent by Agha Mohammad Khan winning the Muslim rulers' compliance. Ibrahim Khalil Khan and two other khans (Mir-Mostafa Khan of Talesh and Mohammad Khan Qajar of Erivan) entered into correspondence with the Russians, who gave them hope that they could defeat the Iranian forces. Heraclius also contacted the Russians, asking them for assistance against the impending invasion.

10,000 of Agha Mohammad Khan's forces first marched towards Talesh, which quickly submitted. Meanwhile, Ibrahim Khalil Khan had the Khudafarin bridge demolished to stop the Iranian army from crossing the Aras River. The bridge served as the main route from the Azerbaijan region into Karabakh and the rest of Caucasus. Despite this, the Iranian forces succeeded in getting to the other side of the river by using boats, and also rebuilt the bridge. Ibrahim Khalil Khan's forces were defeated and withdrew to Shusha, which was then besieged by Agha Mohammad Khan for 43 days.

Due to the capture of his two nephews and the worsening conditions of the siege, Ibrahim Khalil Khan petitioned for peace and promised that he would acknowledge Agha Mohammad Khan's suzerainty. He sent one of his sons to act as a hostage in his stead, claiming that his age-related ailments prevented him from meeting Agha Mohammad Khan directly. However, he still refused to give entry into Shusha. Agha Mohammad Khan was willing to compromise in order to clear a path to Tiflis due to the campaign's primary goal being the subjugation of Georgia.

Dispute over Karabakh between Iran and Russia
As a result of Heraclius' refusal to submit, Agha Mohammad Khan marched to Tiflis and had it ravaged in September 1795. Catherine II, viewing the attack on Tiflis as an offense to Russia, used it as a reason to invade the South Caucasus. In March 1796, she sent a public declaration, written in Persian and Armenian, to all the khans and important figures of the region. The letter explained her reason behind the invasion as a way to protect Georgia and the rest of the South Caucasus from the "usurper" Agha Mohammad Khan.

Ibrahim Khalil Khan submitted to the Russians, as he feared them more than the Iranians. Although neither a treaty nor a Russian garrison was established in Karabakh, this event established a model for eventual Russian assertions of sovereignty over Karabakh and other khanates. However, Catherine II's death on 17 November 1796 led to the withdrawal of the Russian forces under the orders of her son and successor Paul I ((r. 1796 – 1801)), and thus an end to the campaign. By January 1797, all the Russian troops had withdrawn to Kizlyar.

In order to exact revenge on the khans who had acknowledged the authority of Russia, Agha Mohammad Khan went back to the Caucasus. Ibrahim Khalil Khan escaped this time to his relative Umma Khan V in Daghestan, but his family was reinstated following Agha Mohammad Khan's assassination in Shusha on 17 June 1797. Ibrahim Khalil Khan's nephew Mohammad Beg briefly assumed charge of the khanate, but not long after Ibrahim Khalil Khan came back and re-established his authority. He quickly established friendly relations with Agha Mohammad Khan's successor Fath-Ali Shah Qajar ((r. 1797 – 1834)), who married his daughter and confirmed him as the khan of Karabakh.

Fath-Ali Shah was later convinced of Ibrahim Khalil Khan's lack of reliability by his unwillingness to help Javad Khan against the Russian siege of Ganja in 1804. Thus, Ibrahim Khalil Khan's son Abu'l-Fath Khan Javanshir was appointed as the new khan. Despite this, Ibrahim Khalil Khan continued to rule as the khan of Karabakh. Multiple clashes took place in 1804 between the Iranian and Russian armies, but they had no significant impact on the situation. The Georgian nobleman Pavel Tsitsianov, who led the Russian campaign and led the siege of Ganja, soon forced Ibrahim Khalil Khan to yield and accept a Russian garrison in Shusha. In May 1805, Ibrahim Khalil Khan signed the Treaty of Kurekchay, which granted Russia full authority over Karabakh's external affairs in exchange for a yearly payment. Russia also recognized Ibrahim Khalil and his lineage through his eldest son as the rulers of Karabakh.

In the same year, Fath-Ali Shah led a large force to the Aras River, while the crown prince Abbas Mirza was assigned with the task of handling Ibrahim Khalil Khan. The Russians were temporarily interrupted by the murder of Tsitsianov in February 1806. During this period, Ibrahim Khalil Khan sent a letter to Fath-Ali Shah, in which he apologized for yielding to the Russians, declared his willingness to side with Iran, and requested assistance in regaining control of the castle at Shusha. Ibrahim Khalil Khan's change of heart had been caused by the recent death of his eldest son and heir Mohammad Hasan Agha, who was a prominent major-general in the Russian army, and the Russians not seeming to be in a position to defend effectively against the larger Iranian army that was drawing near. Fath-Ali Shah pardoned Ibrahim Khalil Khan, who moved to an adjacent hill outside Shusha so that the Iranian forces could assault its garrison.

One of Ibrahim Khalil Khan's grandchildren, Ja'far Qoli Agha, the son of Mohammad Hasan Agha, whose succession was meant to be assured by the Treaty of Kurekchay and who had his own plans for ruling Karabakh, was frightened and angered by this action. On 2 June 1806, Ibrahim Khalil Khan along with some of his relatives and 30 members of his retinue were killed by a group of Russian soldiers under the instigation of Ja'far Qoli Agha and the commander of the Russian garrison. Although Ja'far Qoli Agha had hoped to become the new khan for helping the Russians against his grandfather's "betrayal", they ultimately appointed Ibrahim Khalil Khan's 30-year-old son Mehdi Qoli Khan Javanshir, due to the support he enjoyed amongst the distinguished figures of Karabakh.

Mehdi Qoli Khan
Mehdi Qoli Khan consented to abide by the Treaty of Kurekchay on September 22, 1806, when tsar Alexander I ((r. 1801 – 1825)) officially confirmed him as khan. Kotliarevskii, the new commander of the Russian garrison in Shusha, was forbidden by the Russian commander Ivan Gudovich to meddle in the internal affairs of the khanate because of his high regard for Mehdi Qoli Khan. Although Mehdi Qoli Khan held the title of khan of Karabakh, he was in reality a figurehead, the real authority being held by the Russians. In 1807, southern Karabakh had a sizable Iranian military presence.

In June 1812, Mehdi Qoli Khan received a farman (royal decree) from Fath-Ali Shah, asking him to reaffirm his loyalty and work with him to expel the Russians from Karabakh. In addition to forgiving Mehdi Qoli Khan for his earlier transgressions, Fath-Ali Shah would also install him as Karabakh's governor and work with him to bring back the tribes of Karabakh who had sought asylum in Azerbaijan. Mehdi Qoli Khan, who changed his alliance between Iran and Russia to his greatest advantage like the majority of the khans in the South Caucasus, made the decision to stick by Russia. In an effort to reassure his continuous allegiance to the Russian Empire, he sent Kotliarevskii the farman.

The Russo-Iranian War of 1804–1813 ended with the Treaty of Gulistan, in which Iran agreed to cede the majority of their holdings in the eastern Caucasus to Russia, including Karabakh. The treaty was signed in Gulistan, a village in Karabakh. The Iranians were disillusioned by the treaty, and officials like Mirza Bozorg Qa'em-Maqam vehemently opposed it. In 1822, Mehdi Qoli Khan fled to Iran as a result of the attempts by the Russian general Aleksey Petrovich Yermolov to abolish the khanates, which occurred afterwards.

In Iran, Mehdi Qoli Khan was amongst the members of the "war party" or the "hawks", who advocated for war against the Russians. He was later amongst the Iranian soldiers during the Russo-Iranian War of 1826–1828. He was finally given permission to go back to Karabakh in 1836, where he retired. He died 1845 and was buried in Aghdam.

Building activity
According to Mirza Jamal Javanshir, Bayat received many new settlers (including artisans) from nearby areas, including Ardabil and Tabriz. The Iranian American historian George Bournoutian stated this passage shows that Javanshirs tribal dominion included more than just pastoral or migratory land. Their forts, which resembled small cities, served as the hubs of the khanate. The strongholds of Bayat, Shah-Bulaghi, and Shusha required a large number of craftsmen and laborers to construct and maintain them.

A common method in a large fortress-town was to have it centered around a maidan (square), which was next to the bazaar, the principal mosque, and hammams (baths).

Coinage
Following the establishment of the Iranian rial currency in 1790, the ten-shahi stopped being used. It was later re-established by Ibrahim Khalil Khan, being minted in silver at Shusha under the name of panahabadi in honor of Panah Ali Khan. This was the first time silver coins were minted by the khans of Karabakh, a late development compared to other khanates. This was because Panah Ali Khan and Shahnazar II shared control over Shusha, with the minting of silver coins only being a possibility following the death of Shahnazar II in 1792. The panahabadi was modeled after a silver coin variant minted by the Ganja Khanate. The khans of Karabakh never issued coins under their own name, due to lacking the legitimacy of an sovereign monarch and any claims to independence.

Two types of panahabadi have been discovered, one of light weight, which corresponded to one eighth of Iranian rupia, and a heavier one, which almost weighted the same as that of 10 kopecks of the Russian empress Catherine II. According to the numismatists Alexander Akopyan and Pavel Petrov, this was not unusual, as Ibrahim Khalil displayed pro-Russian sentiment and engaged in negotiations with Russian officials, but was also under Iranian influence and tried to have his coins easily spread in Iran.

The panahabadi was still in circulation in some regions of South Caucasus and Iran up until the early 19th century. The inscription on the obverse side read "There is one God, His name is Allah, and Mohammad was His Prophet", whilst its reverse side read "minted in Panahabad." "Panahabad" was a laqab (honorific) used to refer to Shusha, albeit it was only employed in official, bureaucratic language and not as a toponym, as the word is missing from Turkic texts that date back to the fortress' construction. The panahabadi seemingly only had its own name as a result of these coins' weights being different from earlier Iranian abbasi as well as from the rial and rupia later weight systems.

Another coin type, called the sahibqirani, was first minted 1800/01 in the name of Fath-Ali Shah. A unique variant of the sahibqirani is engraved with a Persian poem; be-nām muhrum ṣāḥib az-zamānī, mukram sikke ṣāḥibqirānī ("in the name of the stamp of Sahib al-Zamani, this sahibqirani minted with honor").

The majority of the known coins minted by the Karabakh Khanate were issued during their association with Russia.

In the mahals
According to a survey conducted by the Russian Empire in 1823, the mahals (districts) of Karabakh was composed of 17,101 families of villagers and nomads. Its inhabitants were either classified as Tatars, Armenians, or nomads. There were 8,445 nomadic families, 4,654 Armenian families, and 4,002 Tatar families, which means that the nomads comprised 49.38% of the population, followed by Armenians (27.22%) and then the Tatars (23.40%). The survey adds that by including Shusha, the entire population of Karabakh consisted of 18,563 families.

There were roughly 300 settlements in Karabakh, equally split between the Armenians and Tatars. There were a few more people living in Armenian villages than in Tatar ones. The number of nomad pastures was about 375. Accordingly, there were 30 families per settlement and approximately 25 families every nomad pasture. Karabakh's overall population is estimated to have been between 113,000 and 115,000 people, taking into account the estimated 5.5–6.5 person average family size in the area throughout the 19th century.

In the five mahals (Gulistan, Khachen, Jraberd, Varanda and Dizak) that later came to be known as Nagorno-Karabakh, the Armenians made up the vast majority of the population. In all the villages in the mahals of Gulistan, Khachen, and Jraberd, they were the only people there. One Tatar village existed in each of the mahals of Varanda and Dizak, while the rest of the villages were populated by Armenians. Overall, there were 1,536 Armenian families and 53 Tatar families in the five mahals, which means that in 1822, 96.67% of Nagorno-Karabakh inhabitants were Armenians, with the remaining 3.33% being Tatars.

Shusha
According to the 1823 Russian survey, 371 families were registered as living in Shusha's three-quarters. The Kazanchi and Ahlisi quarters were fully made up of people with Armenian names, whilst the Tabrizi quarter was totally made up of people with Muslim names. In the Tabrizi sector of Shusha, there were 162 Muslim families, whereas the other two-quarters of Shusha were home to 209 Armenian families. The survey also includes a list of Muslim (numbering 765) and Armenian (numbering 326) families who were listed as inhabiting Shusha and its surroundings, originating from several settlements and nomadic fields in Karabakh. They either belonged to the khan's family, the clergy, the government, or the subjects of different officials. Instead of paying taxes, they provided a range of services to the monarch, the mulkdars, or the tiyuldars.

This means that in 1823, there were a total of 1,462 families living in Shusha and its surroundings, with 921 families (63.41%) of them being Muslims and 535 (36.59%) of them being Armenian.

Revenue
Taxes were paid yearly in one single payment by the inhabitants of Shusha. The Armenian quarters were required to pay the most, providing 590 gold rubles and 200 kharvars ("donkey's load") of firewood every year. The Muslim quarter were required to pay 200 gold rubles and 60 kharvars of firewood.

Administration
Karabakh was a province of an imperial structure that was entirely Iranian, in the same fashion as other provinces such as Lorestan and Khorasan. In terms of structure, the Karabakh Khanate was a miniature version of Iranian kingship. In the same pattern as Afsharid and Zand rulers, Panah Ali Khan's family were all distinguished figures and served as officials. He used minbashis, yuzbashis, monshis, eshiq-aghasis, keshikchis, yasavols, nazers, and other personnel in the administration of his court and province. In exchange for tax exemption, every Karabakhi tribesman who appeared on the records enrolled the cavalry. Even tax-exempt tribes contributed financially and in kind when mercenaries were needed, but the khan covered the expenses of their equipment and horse fodder when they joined the army. The Iranologist Willem Floor uses the example of Panah Ali Khan as an argument that the character and design of Iran's political system were unaffected by increased tribal activity.

Qajar Iran contains instances that are similar to those of the iqta' (land grants) made to women in the Seljuk and Ilkhanate eras. A portion from Qom's earnings was provided to Ibrahim Khalil Khan's daughter Agha Baji and her 200 personal attendants from Karabakh after she joined the harem of Fath-Ali Shah. A lot of crown land was also given out; Abu'l-Fath Khan Javanshir, one of Ibrahim Khalil Khan's sons, was given much of the land of the Shahsevan tribe in Azerbaijan.

The administrative and literary language in Karabakh until the end of the 19th century was Persian, with Arabic being used only for religious studies, despite the fact that most of the Muslims in the region spoke a Turkic dialect. Persian was also spoken in the judiciary.

In contemporary historiography
The political history of Iran under the Safavid, Afsharid, Zand, or Qajar dynasties is the main subject of the majority of Iranian primary sources. Events taking place in remote areas like Karabakh are typically given a brief paragraph in these texts, unless the shah felt it important to visit such areas. Karabakh is only the main subject of a few chronicles, which were written by Turks of the South Caucasus, later known as Azerbaijanis. All of them, with one exception, wrote in Persian.

The Tarikh-e Qarabagh of Mirza Jamal Javanshir (died 1853) is the earliest written source that focuses on Karabakh. It focuses on political and, to a lesser extent, social and economic circumstances in Karabakh from the 1740s until 1806.

In Azerbaijani historiography
The khanates, which were marginalized in Soviet historiography as remnants of an archaic feudal institution, have been revived in post-Soviet Azerbaijani historiography. They are difficult foundational pieces for a national narrative because of their briefness, diversity, and constant factional strife. Modern Azerbaijani academia and history books refer to all of the khanates north and south of the Aras as "Azerbaijani khanates," reinventing them as the forerunners of the Azerbaijani nation. This includes the Karabakh Khanate, whose Javanshir khans are portrayed as "founding fathers". Additionally, the ethnic heritage of the nomads that lived in Karabakh, which included Turkic, Kurdish, and other Caucasian tribes, is disregarded by Azerbaijani historians, who group them together with the Tatars, considering them all to be "Azerbaijanis." However, before the 20th century, the Azerbaijanis barely constituted as an ethnic group, much less a nation. The people who lived in the present-day country of Azerbaijan identified as either Muslims of the ummah (community), or Turks, who shared a language family spread out throughout a considerable portion of Central Asia, or as Persians.

Before 1988, Azerbaijani experts did not dispute the historical Armenian presence in Nagorno-Karabakh, which changed when the Armenians of Nagorno-Karabakh demanded that their region break way from Azerbaijan. In order to defend their government's anti-Armenian policies in Nagorno-Karabakh, Azerbaijani politicians, journalists, and academics asserted that the region had never been a part of historical Armenia and that the region's Armenian residents were immigrants who had slowly relocated there after 1828. The 2003 Azerbaijani edition of the Russian survey of 1823 is an altered version of the original work; in addition to having several typographical errors, it also frequently omits key information, such as the word "Armenian," either mistakenly or on purpose.

Modern Azerbaijani scholars and historians claim that the present-day country of Azerbaijan and the Azerbaijan region in present-day northwestern Iran used to be one entity, based on arguments such as Nakhchivan and southern Karabakh being temporarily part of the administrative division of the Iranian province of Azerbaijan, the linguistical similarities between the two places, and so on. However, the vast majority of current European historians, as well as 19th century Russian and Iranian sources, consider them to have been two distinct geographical and political areas. Prior to 1918 the word "Azerbaijan" referred to the Iranian region of Azerbaijan.

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Karabakh Khanate


text:
User talk:JohnWinn/AgeVaticanCity

I'm sorry to edit personal files, but I've taken out the Roman Catholic Church Category. JASpencer 13:04, 25 Apr 2005 (UTC)
 * And the other categories... --Tydaj 19:38, 7 May 2005 (UTC)

title: User talk:JohnWinn/AgeVaticanCity