Keywords: THESIS3

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## Pirelli's Miracle Elixir & The Contest

The function of this speech is to make people by a so-called hair-growing elixir. So the function would be highly phatical one with a shift to the appellative function as soon as the communication channel has been established. The form is a polylogue between Tobias, the crowd, Todd and Mrs. Lovett.

As I mentioned this verbal utterance is a polylogue. What is strange about this polylogue, is that the participants are not spatially separated. They stand close together, and what quite often happens in a polylogue, namely the division into smaller groups, doesn't happen here. The whole utterance remains a unit throughout this number. This unification of the different participants was the object of Tobias' initial speech. At the end however Tobias becomes detached and the crowd's attention turns to Todd and Mrs. Lovett. Todd works disruptive on the communication-channel Tobias has just created.

To sell this hair-growing elixir, Tobias, the person who is trying to sell this stuff first has to establish communicative contact with his prospective buyers. The first line is more or less designed to arouse the curiosity of the crowd:

> TOBIAS: Ladies and gentlemen! May I have your attention, perlease?

In the music we see a steady but consistent quick rhythmic movement. Tobias has to speak quickly lest the audience loses its attention(figure 6.9 on page). There are no repeated pitches. This also meant to maintain attention. But this is not enough. The buyers must be convinced that they need Pirelli's elixir. In order to convince the crowd of that, Tobias asks a question:

> TOBIAS: Do you wake ev'ry morning
> in shame despair?
> To discover your pillow
> Is covered with hair,
> Wot ought not to be there?

Figure 6.9: Pirelli's Miracle Elixir

And Tobias immediately answers this question:

> TOBIAS: Well Ladies and gentlemen,
> From now on you can waken at ease
> You need never again have a worry or care
> I'll show you a miracle marvelous rare

This intensifies the crowd's curiosity, and the next phrase is a kind of climax:

> TOBIAS: Gentlemen, you are about to see something
> That rose from the dead...-

Seen from the perspective of the time this play is set in, this phrase is quite extraordinary. No wonder a woman in the crowd gasps6.8. The conflict caused by this phrase is solved quickly enough:

> TOBIAS: On the top of my6.9 head.

He then goes on to explain what happened:

> TOBIAS: Scarcely a mont ago
> I was struck with a horrible
> Rare Oriental6.10 disease
> Though the finest physicians
> In London were called
> I awakened one morning
> Amazed and appalled
> To discover with dread
> That my head was as bold
> As a novice's knees
> I was dying of shame
> Till a gentleman came
> An illustrious barber
> Pirelli by name
> He gave me a liquor as
> Precious as gold
> I rubbed it in daily
> like wot I was told
> And behold
> Only thirty days old

More or less a success-story so far. A look at the music reveals that the pace of speech hardly has been slowed down but because there are now much more repeated pitches and stepwise motions, this music is more suited to a short narrative.

The sole purpose of this narrative is to persuade the crowd that what apparently had happened to Tobias could happen to them as well, and therefore it would be a good idea, if they have a similar problem, it might to buy this elixir. But to get rid of the last doubt in the crowd Tobias makes an obvious conclusion:

> TOBIAS: 'T was Pirelli's miracle elixir
> That's what did the trick, sir
> True, sir, true
> Was it quick, sir? Did it in a tick, sir
> Just like an elixir ought to do

In the music we see an ostinato-like-pattern with an a-b organpoint. This strange dissonant organ-point is most probably used to intensify the meaning of the words. In the vocal score a drum is indicated. Apart from the a-b organ point the harmonic is quite normal. There is another way in which the meaning of the words are intensified: namely by the use of square, unsyncopated rhythms(figure 6.10 on page ).

Figure 6.10: Pirelli's Miracle Elixir

After this section Tobias tests whether his messages has been heard:

> TOBIAS: How about a bottle, mister?
> Only costs a penny, guaranteed
> 1ST MAN: Penny buys a bottle, I don't know
> 2ND MAN: You don't need
> 1ST MAN: Ah, let's go!

Tobias feels that the crowds attention is slipping away, so he employs another mean, used in advertising, namely: repeat the message:

> TOBIAS: Does Pirelli's stimulate the growth, sir?
> You can have my oath, sir,
> 'T is unique
> Rub a minute
> Stimulating i'n' it?
> Soon you'll have to thin it
> Once a week

1ST MAN: Penny buys a bottle | TOBIAS: How a about a sample?
well |
2ND MAN: Wotcher think? | TOBIAS: Have you ever smelled
1ST WOMAN: Isn't it a | a cleaner smell
crime, they let | That's enough sir, ample
those urchins clog |
the pavements |
2ND WOMAN: Go ahead and try it, wot the hell | 3RD MAN: Penny buys a
| bottle doesn't it?

Tobias gets encouraged:

> TOBIAS: Gently dab it
> Get to be a habit
> Soon there'll be enough sir
> Somebody can grab it.
> See that chap with hair like Shelley's
> You can tell 'e's used Pirelli's

And just as Tobias is about to sell his first bottles, Todd and Mrs. Lovett enter the scene:

> TODD:(Loudly to Mrs. Lovett) Pardon me, ma'am, what's that awful stench?6.11
> MRS. LOVETT: Are we standing near an open trench?

MRS. LOVETT: | TODD:
(To a man in the crowd) |
Pardon me, sir, | Must be standing near an open
What's that awful stench | trench

Tobias does not yet know how dangerous Todd is for his commercial undertakings and innocently hands Todd a bottle for further inspection. In the meanwhile, the appellative function of this scene is still the prevalent function:

> TOBIAS: Buy Pirelli's Miracle Elixir
> Anything what's slick, sir,
> Soon sprouts curls'' Try Pirelli's!
> When they see how thick, sir
> You can have your pick, sir
> Of the girls

Todd immediately deflates this rather swollen language:

> TODD: What is is?
> MRS. LOVETT: What is this?
> TODD:(Handing the bottle back distastefully) Smells like piss
> MRS. LOVETT: Smells like-phew!

TODD: | MRS. LOVETT
Looks like piss | Wouldn't touch it if I was
| you dear
This is piss, |
Piss with ink |

The crowd now begins to take notice. In other words, their attention shifts. That means that the speeches of Todd and Mrs. Lovett have an equally appellative function too, and as it seems a stronger appellative function:

> TOBIAS: Let Pirelli's active your roots, sir.
> TODD: Keep it of your boots, sir
> Eats right through

Tobias is rapidly losing the communicative link he had with the crowd:

> TOBIAS: Get Pirelli's!
> Use a bottle of it!
> Ladies seem to love it!
> MRS. LOVETT: Flies do, too!

The mood of the crowd has now changed entirely from willingness to anger. Tobias frantically tries to save his boss and himself:

> TOBIAS: See Pirelli's Miracle Elixir
> Grow a little wick,sir
> Then some fuzz
> The Pirelli's
> Soon'll make it thick, sir,
> Like a good elixir
> Always does
> Trust Pirelli's
> If your hair is sick, sir,
> Fix it in a nick, sir,
> Don't look grim!
> Just Pirelli's
> Miracle Elixir
> That'll do the trick, sir!
> 3 MEN: What about the money?
> TOBIAS: If you've got a kick, sir!

This section is a diminution of the previous 'advertising' speeches. It's exactly twice as fast to indicate a frenetic tone. After this section a more or less contrapuntal, and confused, section follows, in which the crowd demands its money back and Tobias really gets desperate and at the end of it he cries out:

> TOBIAS: Tell it to the mixer
> Of the Miracle Elixir
> If you've got a kick, sir
> (Exhausted) Talk to him.

This section is even faster than the previous section.

As I mentioned in the previous chapter, the phatic function often overlaps with the appellative function. In this case the creation of communicative contact, which is the domain of the phatic function, is followed by acts of persuasion, which are the domain the of the appellative function.

The structure of the verbal communication becomes somewhat more problematic in the Contest. The main verbal utterances are by Pirelli, and that makes this piece into a monological dialogue. In the contest Todd never gets any music, while Pirelli sings more or less a bel-canto aria. Both the crowd on stage as the audience in the theater are intended to be addressees.

The Contest really begins as Pirelli enters6.12

> (Pirelli bursts through the curtain flamboyantly. The crowd falls silent, stunned. Pirelli poses splendidly for a moment)
> PIRELLI:(Sung) I am the Adolfo Pirelli
> Da king of da barbers,
> Da barber of kings,
> E buon giorno,
> Good day.
> I blow you a kiss.
> (He does)
> And I,
> Da so famous Pirelli, I wish-a to knowa
> who has-a da nerve-a to say
> My elixir is piss!
> Who says this?

The characterization of Pirelli is almost done in this small fragment. He is shown to be an Italian, who likes to boast about the things he has done, who is a charmer, and a person who is easily offended. His voice-type as I mentioned before is that of a bel-canto tenor, a voice which makes the characterization complete.

Although this speech is addressed at the crowd, it is indirectly addressed to Todd, to impress him. Todd however is not impressed (the next section is completely spoken):

> TODD:I do. (He holds up the bottle of the elixir) I am Mr. Sweeney Todd and I have opened a bottle of Pirelli's elixir, and I say to you it is nothing but an arrant fraud. (Mrs. Lovett takes the bottle from Todd, sniffs it)
> MRS. LOVETT: He's right. Phew! Better to throw your money down the sewer. (She tosses the bottle to the ground. The onlookers ''ooh'' and ''aah'' with shocked excitement)
> TOBIAS: (Beating agitatedly on the drum) Ladies and gentlemen, pay no attention to that madman. Who's to be first for a magnificent shave?
> TODD: (Breaking in) And furthermore...Glaring at Pirelli) I have serviced no kings, yet I wager that I can shave a cheek and pull a tooth with ten times more dexterity than any street mountebank! (He holds up his razors for the crowd to see) You see these razors?
> MRS. LOVETT: The finest in England.
> TODD: (To Pirelli) I lay them against five pounds you are no match for me. You hear me, sir? Either accept my challenge or reveal yourself as a sham.
> MRS. LOVETT: Bravo, Bravo. (The crowd laughs and cheers, obviously on Todd's side. Pirelli as imposing as ever, holds up a hand for silence. Slowly he swaggers toward Todd, takes the razor case, opens it and examines the razors carefully)
> PIRELLI: (He speaks with a fairly obvious put-on foreign accent, barely concealing an Irish underlay) Zees are indeed fine razors. Instruments like zees once seen cannot soon be forgotten. (Takes out a tooth-extractor) And a fine extractor too! You wager zees against five pounds, sir?
> TODD: I do.
> PIRELLI: (Addressing the crowd) You hear zis foolish man? Watch and see how he will regret his folly. Five pounds it is!
> TODD: (As the music starts, surveying the crowd) Friends, neighbors, who's for a free shave?
> FIRST MAN: (Heavily bearded, stepping forward eagerly) Me, Mr. Todd, sir. SECOND MAN: (Stepping forward eagerly, too) And me, Mr. Todd, sir.
> TODD: Over here. Bring me a chair.
> PIRELLI: (To Tobias) Boy, bring ze basins, bring ze towels!
> TOBIAS: Yes, sir...
> PIRELLI: Quick! (He kicks Tobias. The boy hurries off into the caravan)
> TODD: Will Beadle Bamford be the judge!
> BEADLE: Glad as always to oblige my friends and neighbors. (As another man comes on with a wooden chair and Tobias emerges from the caravan with basins, towels, etc., the Beadle instantly takes over. To man, indicating where to set the chair) Put it there. (The Bearded Man sits on Todd's chair. The 2nd Man is ensconced on Pirelli's chair. Pirelli shakes out a fancy bib with flourish and covers his man. Todd takes a towel and tucks it around his man's neck) Ready?
> PIRELLI: Ready!
> TODD: Ready!
> BEADLE: The fastest, smoothest shave is the winner. (He blows his whistle)

The semantic oppositions are very clear in this section. Todd doesn't bother to convince Pirelli that he is the best. Pirelli however does everything to impress Todd. That Pirelli is an imposter can be seen in the stagedirections: He speaks with a fairly obvious put-on foreign accent, barely concealing an Irish underlay. In the next section, Todd has only gestive utterance while Pirelli excels in an abundance of great, boisterous words:

> (Pirelli strops his razor quickly and starts whipping up lather furiously. Todd also strops his razor, but with painstaking slowness)
> PIRELLI: (Sung) Now signorini, signori, we mix-a da lather
> But first-a you gather
> around,
> Signorini, signori, you looking a man who have had-a da glory
> to shave-a da Pope!
> (Lathering his man) Mister Sweeney whoever
> (To the customer as he accidentally lathers his nose) I beg-a your pardon'll
> probably say it was only a cardinal.
> Nope! (Finishes lathering the man)
> It was-a da Pope! (Exchanges his brush for a razor)
> To shave-a da face (Shaves his man with flourishes)
> To pull-a da toot'
> Require da grace
> And not-a da brute,
> For if-a you slip,
> you nick da skin,
> you clip-a da chin
> you rip-a da lip
> a bit,
> and dat's-a da trut'
> (Todd strops his razor slowly and deliberately, disconcerting, Pirelli and drawing the crowd's attention.)
> PIRELLI: (Getting the crowd's attention back) To shave-a da face
> Or even a part
> Widout it-a smart
> Require da heart
> It take-a da art.
> (Gesturing to Tobias, who pulls down an elaborate anatomical chart of the head.)
> I show you a chart
> I study-a start-
> ing in my yout'
> (Again, Todd slowly strops his razor.)
> PIRELLI: (Gaining confidence as he sees Todd so far behind) To cut-a da hair,
> To trim-a da beard,
> To make-a da bristle
> clean like a whistle
> Dis is from early infancy
> Da talent give to me
> by God!
> It take-a da skill,
> It take-a da brains,
> It take-a da will
> To take-a da pains,
> It take-a da pace,
> It take-a da grace!
> (Todd, with a few deft strokes, lathers and shaves his man, and signals the Beadle) BEADLE: (Spoken) The winner is Todd!

Quite an elaborate exposition of one's talents, as we can see. Instead of using verbal communication to top this, Todd, simply by his deeds, convinces the crowd of his superiority. It could be called a demonstration ad oculos. But the contest has two parts. We have now seen the shaving.

The second part, the tooth-pulling, follows the same pattern. Pirelli is quite elaborate in showing off his so-called talents. And again Todd's answer is a purely gestive one.

The speeches by Pirelli are more or less monologues, with some short interruptions by Tobias, especially in the tooth-pulling-scene, where Sondheim even set Tobias' cries of pain to music. Because Pirelli's speeches have the sole purpose of convincing the public that he is the best, his utterances are highly appellative. Even when it is apparent that he is inferior to Todd, he keeps on boasting. Again this is part of the characterization: Pirelli is shown to be a very shallow man. And he is, as we can observe later in the play, because he's really from Ireland, and Pirelli is just a mask he's putting on. He needs the boasting and the grand words to convince not only the audience, but himself as well, that he is an Italian barber.

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