For a musical about a mad barber and the baker lady who loves him so much that she grinds his murdered victims into meat pies, SWEENEY TODD has had more lives in Chicago than what might first think. Of course, the fact that this is one of Stephen Sondheim's greatest scores doesn't hurt, and neither does the fact that this thriller started life with Angela Lansbury as the meat grinding baker. In fact, she and Len Cariou toured in the post-Broadway engagement, complete with director Hal Prince's original and intricate set. The fact that even with this pedigree, the show had to struggle a bit only points out the inadequacies of the Arie Crown Theatre. Over the years, other productions have played, including family friendly Marriott Lincolnshire's in the round production, a presentation at the Lyric Opera with Bryn Terfel, and, now, A more intimate production by Porchlight Theatre, Chicago's resident musical theatre company.

No giant theatre, no big name stars, and no shocked suburban moms. Instead, Porchlight has put forth a straightforward and mostly satisfying show, with an emphasis on acting as well as singing. Porchlight's artistic director, L. Walter Stearns directs, and has guided his company to help convey the emotion that has been lost in other productions, and is necessary to help the audience understand the actions of these outlandish characters. The title figure is really Benjamin Barker, a man falsely accused of a crime he did not commit, so that the hissable Judge Turpin can rape Barker's wife, and then act as Daddy to Joanna, the woman's daughter. Now, Barker, nee Todd, has returned to London, looking for revenge. He returns to the bakeshop over which he lived, to find Mrs. Lovett baking really lousy meat pies, and ready to gossip about the unhappy fate of his wife. The two take up together, with Todd slicing the throats of anyone he can, and Lovett baking them up is not a successful business. Eventually, of course, Todd gets his chance with the judge, and also gets the opportunity to meet his grown daughter, thanks to the sailor she loves, Anthony. I won't give anything more away, but let's just say that the fact that the Lyric Opera presented SWEENEY TODD makes sense, as like most operas, bodies litter the stage by play's end.

Michael Aaron Lindner's Todd doesn't match Terfel's unbelievable power, but he shares the appropriate intensity and menace. This is a man possessed. Rebecca Finnegan is, at times, almost like a deranged Lucille Ball, with reddish hair swept up into a complete mess. She plays up many of Lovett's comic moments, but also shows a surprising fierceness, that doesn't always come across.

Judge Turpin is a prize role for a deep voice, and Peter Pohlhammer comes through, especially in his solo masturbation scene that was cut from the original production's tour. His henchman, Beedle Bamford, is played by Jonathan A. Landvick, who doesn't posses as powerful a voice, but is an appropriately menacing presence.

Bethany Dawn has been directed to play Johanna as a caged bird, but to the nth degree. Her mannerisms and behavior go beyond fright to crazy. When she ends up in Fogg's asylum for the mentally deranges at one point, it seemed apt. She does, however, have the operatic pipes the role demands, and is matched by Zach Ford's Anthony, the sympathetic sailor. While he did have trouble hitting a couple of notes opening day, he brings a humanity and naturalness to what can be a rather stiff role. At least he isn't saddled with one of a many of the worst wigs in the city, which occupy a few other unfortunate heads on stage.

Jaqueline and Richard Penrod have created a satisfyingly decrepit London, a moldering bakeshop, and an empty barbershop, with careful props and movable rectangles, although the pipes that drip from the ceiling at the start and finale are a bit distracting, if still clever. The necessary oven, and rigged up barber's chair share the stage with the four onstage musicians, who do well, with limited instrumentation. They do as much a possible to adapt Sondheim's sweeping and demanding score to this more modest production.

SWEENEY TODD plays at The Theatre Building, 1225 West Belmont, until the first week in November.

If you are looking for other shows to see this fall season, notable productions include DIVA DIARIES, starring Alexandra Billings, at the Lakeshore Theatre, AKA, the old Broadway movie house. This musical promises a good time and a fun night out, if past reviews from other cities are even half right. Google Diva Diaries to visit their website for video of the show.

Also of interest to boys, is TAP DOGS REBOOTED, a new version of TAP DOGS. Even in tap dance isn't for you, this stomping high energy show featuring Aussie men in shorts or without shirts is. At the Shubert.

Coming up, is our very own Richard Chamberlain in a musical version of A CHRISTMAS CAROL, with music by the sometimes good, sometimes not Leslie Briscusse. This production, called SCROOGE, will play the Oriental October 26 ­ November 7 (isn't this a Christmas show?), and follows on the heels of a run in various British cities.

Not to be outdone, David Hyde Pierce will headline Mike Nichol's SPAMALOT in a pre-Broadway run near Christmas. Hank Azaria and Tim Curry also star, in a musical version of MONTY PYTHON AND THE HOLY GRAIL, tailor made for show tune fans. And, you know who you are.