smartly capitalizes on. This musical tends to skew big, enthusiastically embracing the "grand" in Grand Guignol. Haase and company go intimate, which makes sense for an unamplified singing-and fortunately Libby can belt out his baritone, and he impressively carries the production-and a small musical ensemble. It also provides for some disarmingly stunning moments of staging. In the beginning of the second act, when Todd and Mrs. Lovett have their operation running swimmingly, Todd executes a string of female victims the production dubs the "ladies of sensitivity." One by one they take a seat in his chair wearing a barber's bib, he slices and pushes them through a door, and they return through a different door, their throats slit, their eye glassy, and return to their seats onstage. Afterward, each applies white makeup to her face during the scene, and soon, you realize that more dead characters are starting to hang around onstage than live ones, and it sinks in how absolutely bloody this easy-to-sing-along-to musical really is.