Principal Roles
| Character | Voice Type | Description |
| Sweeney Todd/Benjamin Barker | Bass-Baritone or Baritone | Morose and brooding, a barber by profession who returned to London (after fifteen years of unjust incarceration in an Australian penal colony) to seek revenge first on the corrupt judge who sent him there, and then simply on whoever proves unfortunate enough to end up in his shop. |
| Mrs. Nellie Lovett | Contralto or Mezzo-soprano | A cheery and chatty but wholly amoral restaurateur whose business has become run down due to a scarcity of meat and who would like to be more than a landlady to Mr. Todd. |
| Anthony Hope | Baritone/Tenor | A young, naïve sailor who has rescued Todd and falls in love with Johanna Barker. |
| Johanna Barker | Soprano | Todd's beautiful young daughter, claimed by Judge Turpin as his own ward. |
| Judge Turpin | Bass or Bass-Baritone | A corrupt and depraved judiciary official who twists the system to serve his own ends and who has become infatuated by Johanna as she has matured. |
| Tobias Ragg | Tenor | A simple young lad who works first for Pirelli, and then for Mrs. Lovett, but does not trust Todd. |
| Beadle Bamford | Tenor/Countertenor | Turpin's right-hand man and accomplice to his dirty deeds. |
| Beggar Woman/Lucy Barker | Mezzo-soprano | A mad crone with a filthy tongue whose interjections go unheeded, but who is eventually revealed to be Lucy Barker, the wife of Benjamin Barker. |
| Adolfo Pirelli/Danny O'Higgins | Tenor | An Irish charlatan and former employee of Benjamin Barker's who has since developed a public persona as a flashy, Italian barber; he attempts to blackmail Todd whom he ultimately recognizes from his youth. (In some productions, Pirelli has been played by a woman but still portrayed as a male character.) |
Read more about this topic: Sweeney Todd: The Demon Barber Of Fleet Street
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“Productive collaborations between family and school, therefore, will demand that parents and teachers recognize the critical importance of each other’s participation in the life of the child. This mutuality of knowledge, understanding, and empathy comes not only with a recognition of the child as the central purpose for the collaboration but also with a recognition of the need to maintain roles and relationships with children that are comprehensive, dynamic, and differentiated.”
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