Sweeney Todd – Birmingham Repertory Theatre

Meow Meow and Ramin Karimloo in Sweeney Todd at Birmingham Rep. Picture: Manuel Harlan

Sweeney Todd: The Demon Barber of Fleet Street continues at Birmingham Repertory Theatre until 15 August 2026.

Star rating: five stars ★ ★ ★ ★ ★

The sad passing of Stephen Sondheim in 2021 gave theatregoers a chance to reflect on the legendary composer and lyricist’s formidable body of work, which is widely regarded as some of the finest musical theatre ever written. One of his most famous creations is Sweeney Todd, written with librettist Hugh Wheeler back in 1979, which became a huge hit with critics and audiences thanks to its deliciously macabre tale of murder, revenge and pastry. Proving that musicals aren’t always full of sunshine and rainbows, Sweeney Todd treads a truly dark path through a grimy 19th century London, and as Birmingham Rep’s new production shows, revenge is a dish best served not cold, but fresh out of the oven.

Tormented barber Sweeney Todd (Ramin Karimloo) returns to London after being exiled years earlier by Judge Turpin (David Bedella), allowing the despicable Turpin to steal Todd’s wife and keep their daughter as his ward. Todd happens upon piemaker Mrs Lovett (Meow Meow), who tells Todd what’s happened to his family since he’s been away and returns his barbers’ blades to him.

Driven mad by revenge, Todd offers his shaving services to the locals, hoping to get Turpin into his chair and on the receiving edge of his razor. An impulsive moment leaves Todd and Lovett on the brink of a macabre money-making enterprise, but with suspicions rising as fast as the body count, Todd’s obsession with Turpin threatens to consume him in a fire even hotter than Lovett’s grisly oven.

Sondheim’s work isn’t always the easiest to click into on first viewing, but Sweeney Todd is one of his more accessible musicals, being a tasty tale of terror that boasts a richly gothic score and intense orchestrations. His unique gift for language, rhyme and rhythm is hugely evident, the material having been laced with humour and dread in equal measure. The musical changes tone on a knife edge, flitting from black comedy to chilling horror within a few moments. While never scary, a palpable sense of menace flows through the piece, setting it apart from most musical theatre into a truly one of a kind show.

The sheer magnitude of the writing is embraced by both Joe Murphy’s direction and Elin Steele’s set design, which meld together to create a toweringly intimidating production but yet at the same time utterly compelling and magnetic in its grip. The sinister threat of the material looms large like the statue of Lady Justice which haunts the back of Steele’s set, conveying the show’s central themes in a striking way.

Lovett’s pie shop rising and lowering from the stage is used well, as is Todd’s executioner chair, along with some cinematic lighting design by Rory Beaton. Murphy manages to retain the show’s dry dark humour while keeping things tense, although the pace does start to drag a little in Act II (not helped by the lion’s share of the stronger songs being in Act I). The show does however remain engaging and sounds great, with the orchestra of eight (led by music director Leo Munby) delivering an incredibly rich and full-bodied sound.

Karimloo makes an imposing and commanding Todd, hitting great levels of menace as he works through his victims. It’s not his beltiest role, only really having ‘Epiphany’ to properly show off, but he still sounds as good as always.

Jack Gibson is excellent as Tobias, bringing a live-wire eccentricity to the poor young lad surrounded by madness, and performing ‘Not While I’m Around’ wonderfully. Julius D’Silva makes for a fabulous Beadle too, a darkly camp creation that steals every scene he’s in.

The unexpectedly knockout turn here though comes from Meow Meow as Mrs Lovett, bringing echoes of the great Angela Lansbury to her ditzy demented baker and turning in a genuinely brilliant performance. The Australian actress, dancer and cabaret artist wrings every drop of humour from the role, while also conveying the twisted villainess that lies beneath and flipping between wacky and wicked in the blink of an eye, creating some genuinely chilling menace.

For those who like their musicals dark, Sweeney Todd is as razor-sharp as they come, and it’s been far too long since we’ve seen a professional production of this gothic tale. With excellent performances and powerfully chilling production values that honour the material, the Birmingham Rep production shines like the blades of the man himself. A ‘bloody’ good production.

Rob Bartley