By Gregg Shapiro

Contributing writer

“Blue Man Group: How to Be a Megastar Live” (Rhino/Blue Man Group)—Of all the various types of stage shows in existence, “Blue Man Group” is one that deserves to be experienced live. How else will you ever fulfill your longtime dream of being splattered in paint while wearing a rain poncho (first few rows only) or being swathed in and pelted by paper products from all sides? And if you live in proximity to a major metropolitan area, chances are there is a production of “Blue Man Group” a short Greyhound bus ride away. For those who’d rather get the effect from the comfort of a La-Z-Boy recliner in the family room, the “How to Be a Megastar Live” DVD should do the trick. The DVD consists of the Blue Man Group show performed with the assistance of a backing band, placing the show in more of a rock concert setting. The whole thing will either entice viewers to get online and figure out a way to get tickets to the closest venue housing a production of Blue Man Group or completely satisfy any lingering curiosity that a person might have. The DVD also includes two videos and the doc “Inside the Tube.” The double-disc set also comes with a 19-track live CD, in case you want to take Blue Man Group with you in the car.

“Sweeney Todd: The Demon Barber of Fleet Street” (DreamWorks/Warner Brothers)—Actor Johnny Depp and director Tim Burton reunite for the long-awaited film version of the Broadway musical co-written by Stephen Sondheim. The pairing is a sure thing, in keeping with the gothic style of previous collaborations such as “Sleepy Hollow” and, to some degree, “Edward Scissorhands.” Burton, who has had memorable musical numbers in films such as “Pee Wee’s Big Adventure” (remember Pee Wee dancing on the bar in biker roadhouse?) and “Beetlejuice” (bet you never listened to Harry Belafonte in the same way after that), rises to the occasion with his respectful adaptation of “Sweeney Todd,” from a screenplay by gay playwright John Logan.

Essentially a story of revenge, Sweeney Todd (Johnny Depp) is a new identity assumed by Benjamin Barker, a barber whose life and family was torn apart by vicious Judge Turpin (Alan Rickman). Returning to London to begin anew after being rescued at sea by Anthony (Jamie Campbell Bower), following his imprisonment, he is anxious to learn of the fate of his wife Lucy (Laura Michelle Kelly) and now adolescent daughter Johanna (Jayne Wisener). On Fleet Street, where he had his barbershop, he encounters Mrs. Lovett (Helena Bonham Carter), who serves the worst pies in London (just ask her). Her pie shop is directly below Barker’s old barbershop, and after recognizing him (she long harbored a crush on Barker), offers him the chance to go back into business, re-introducing him to his old razors. Following an unfortunate encounter with another barber named Pirelli (Sacha Baron Cohen), an unexpected “slice ’em and dice ’em” business partnership is born, moved along by Sondheim’s brilliant musical wordplay.

A slight caveat, however. Viewers should be prepared (and not surprised) that, in the hands of Burton, the theatrical and therefore imaginary violence of “Sweeney Todd: The Demon Barber of Fleet Street” is presented in full gore on screen. Taking too much cinematic delight and liberty in the repeated throat-slashing and body disposal (down a chute to where they hit a concrete floor head first), Burton occasionally goes overboard. Bloody bountiful special features include informative and enriching featurettes such as “Burton + Depp + Carter = Todd,” “Musical Mayhem: Sondheim’s Sweeney Todd,” Sweeney’s London” and much more.