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After the sensational first production of "Sweeney Todd: The Demon Barber of Fleet Street," in 1979, Stephen Sondheim underwent media canonization as the patron saint of the American musical. "Is Stephen Sondheim God?" one magazine headline asked. Since then, as Sondheim's musical experiments have repeatedly disappointed as narratives, "Sweeney Todd"--the brooding, gleeful story of a vengeful barber who dispatches his clientele with a razor and then has them served up in meat pies--has loomed ever larger as the composer's enduring masterpiece. From the poisoned wells of Victorian oppression, Sondheim drew his purest water; and it is in "Sweeney" 's toxic nihilism that his ...