Review: Sweeney Todd: The Demon Barber of Fleet Street (Birmingham Rep)
Review by Daz Gale
⭐️⭐️⭐️⭐️⭐️
It's been a while since the UK saw a production of Sweeney Todd, with rumours of a West End transfer for the recent Broadway run never coming to fruition. It has always been at the top of my list of musicals I have been dying to see on stage, so when a brand new production was announced for Birmingham Rep, it was a no-brainer for me to head there and attend the tale. Would this new production be a cut above the rest or would it prove to be a close shave with greatness?
Often described as Stephen Sondheim’s masterpiece, Sweeney Todd: The Demon Barber of Fleet Street premiered in 1979 on Broadway, making its West End debut the following year and enjoying multiple revivals in the decades since with the last major revival on Broadway in 2023 and the West End in 2012. Based on the 1970 play by Christopher Bond, it tells the tale of Benjamin Barker, who takes on the new identity of Sweeney Todd upon his return to Victorian London. Having been wrongfully imprisoned for 15 years, he discovers he’s lost everything he’s ever loved and swears revenge on those responsible. Opening his barber shop above Mrs Lovett’s pie shop, his determination for justice may prevent him from getting any repeat customers, but it certainly stops Mrs Lovett from having the worst pies in London.
Sweeney Todd is very clearly not the cheeriest of musicals, at times making Les Miserables look like Paddington, but there is something inherently compelling about this story and the way it plays out on stage. Sondheim was never a stickler for convention, and that is reflected here with a style that sees a bookend to the piece that may feel harsh in tone, but works in immediately immersing you into the world, and ensuring you leave slightly unsettled albeit completely fulfilled.
That harshness is beautifully represented in this production from the moment the curtain comes up to reveal a cold and stark yet intricately designed stage. Director Joe Murphy’s vision for this production is an attempt to bring the story back to basics, removing some of the more elaborate additions recent productions have opted for. This is realised in Elin Steele’s glorious design - rich in detail, with a large, looming replica statue of Lady Justice an inspired centrepiece. To use this detail in a story that asks questions about morality, revenge and justice is a testament to the artistic vision used for this production. In life, not everything is as clearly defined as heroes and villains, with sometimes the people portrayed as the good guys the most villainous of all. This is a key theme in Sweeney Todd and the way this is visualised on stage is completely thrilling. Pages in the programme explaining the concept of these visuals makes for a very interesting read.
It is often difficult to define whether something is a good show or a good production, and I find that this is most commonly an issue with Stephen Sondheim musicals. To call the late, great man a genius doesn’t feel like big enough a word to describe the impact he has made on theatre, and it is easy to be swayed by his original work in a way that blindsides you by some of the inadequacies of a production. It is easy to see why this happens, however, with such adoration of someone whose influence and impact on musical theatre will continue to be felt long after us mere mortals have met our own demises (slightly morbid, but this feels like the right review for it) creating a more emotional and personal response within ourselves than you might experience at another show. It is a no-brainer to describe the original essence of Sweeney Todd as nothing short of miraculous, and that isn’t simply down to Sondheim’s exquisite songs, but also Hugh Wheeler’s glorious and gory book, and, of course, Christopher Bond’s original play. What is clear, however, is just how remarkable Joe Murphy’s production is.
It is a hard ask to adapt a work as widely regarded as Sweeney Todd in a way that doesn’t just honour the original work and those responsible for creating it, but isn’t afraid to try something new. The worst thing somebody could do is opt for a safe production of Sweeney Todd, and should aim to take swings as wide as Sweeney Todd himself does with his razor. I personally love a bold and daring production of any classic musical, even if I don’t personally enjoy it, I still appreciate the attempt. Murphy has indeed taken big swings with this production, and it has paid off spectacularly. This is a man who understands the source material and has a clear vision of how to tell that story in 2026 in one of the best gems of a theatre located outside of London, the magnificent Birmingham Rep. With the courage of his convictions, he hasn’t just honoured what is considered Sondheim’s masterpiece, he has made a masterpiece himself.
It is the starkness of the stage that allows Murphy’s vision to truly breathe, and when the empty space in the centre is filled through a stunning transition, I found myself gasping for breath. This production of Sweeney Todd is simply magical, allowing for complete immersion into a macabre story in a way that makes for extreme responses. I found my heart beating as I worried for the fate of certain characters, knowing full well who makes it out alive and who doesn’t - this is what theatre should be, and my God, Murphy has done an incredible job in bringing it to life. It may have been a Saturday afternoon, but I have scarcely seen an audience rise to their feet so quickly and roar quite as loudly as the Birmingham audience did after Sweeney had swung his razor for the final time at this performance. There was the sense the 1200 strong audience at Birmingham Rep had all shared an experience together, and that is exactly what theatre should do. Where some productions don’t always get it right, that is not a problem with Sweeney Todd, and Joe Murphy is the man responsible for that.
In recent weeks, my reviews have commented on certain design aspects that haven’t been up to scratch, letting the side down and preventing a show from reaching its full potential. Thankfully Sweeney Todd doesn’t suffer from that problem with each element as faultless as the last. Rory Beaton’s lighting design wonderfully complements the cold nature of the staging, opting for dim and dark choices that work for the show, creating striking images and shadows. Kelsh Buckman-Drage’s sound design is mercifully crystal clear, meaning every single word of this show is heard as intended and the cast don’t have to face an extra obstacle, allowing them to use their talents and trust the designers won’t steer them wrong. Strong movement from Tinovimbanashe Sibanda finds the right way to fill the largely empty space, while Leo Munby’s musical direction ensures Sondheim’s songs sound as epic and exciting as they ought to.
So who is taking on the role of the demon barber for this production? That honour falls to Ramin Karimloo, no stranger to some of the biggest and most iconic male roles in musical theatre, adding another string to his bow. Ironically playing a barber who will have no hesitation in giving you a shave so close you’ll never need another one again, there is the sense that Sweeney Todd is in safe hands with Karimloo, delivering a balanced performance. Refreshingly restrained at times, his Sweeney Todd is understated for large periods of time, allowing for the explosions of anger and emotion to feel even more heightened thanks to this slow burning approach. Of course, Karimloo gets a chance to showcase his distinct vocals throughout, but it is his characterisation that truly impresses. I have seen Karimloo in a fair few things over the years but never seen him act quite like this.
David Bedella is a highlight as Judge Turpin, creating a performance so believable it led audience members to boo (a reminder that Sweeney Todd is probably as far removed from a pantomime as it gets. Oh yes it is!) while Shem Omari James gives a sweet and charming turn as Anthony Hope. Julius D’Silva is a comic highlight as Beadle in a largely exaggerated portrayal that added a refreshing light touch from the overwhelming story of the darkness, while Jo Stephenson delivered a solid performance as Johanna. Jack Gibson was a huge highlight as Tobias Ragg, beautifully capturing the sweetness and naivety of the young boy and the sudden way he is forced to understand the monsters lurking in the shadows. His note-perfect rendition of ‘Not While I’m Around’ brought a tear to my eye, while his stage presence was never compromised, even when in the shadows of such large players.
There is one cast member I haven’t mentioned yet, and for very good reason. How do you step into the shoes of Mrs Lovett, surely one of the most iconic roles in musical theatre? With great ease, it turns out. I must admit to not being overly familiar with Meow Meow prior to this, but it is fair to say I left the theatre utterly obsessed. That obsession began mere moments after her first appearance, opting for a take on the character that fits the essence while bringing her own spin on it. Her remarkable voice showcases incredible versatility on numbers such as a particularly phenomenal ‘The Worst Pies In London’ and a truly spectacular rendition of ‘A Little Priest’. Over-the-top, erratic and exaggerated, Meow Meow is a force to be reckoned with on stage. Her chemistry with Karimloo made for an intense but always captivating dynamic, but Meow Meow proved scene-stealing no matter who she shared the stage with. An utterly outstanding performance, Meow Meow proves to be one of the best things in a brilliant production.
Sweeney Todd may be known as Sondheim’s masterpiece, but this production of it is surely as good as any that have ever gone before, if not better. Staying true to the key themes in the story while adding some creative new elements, Joe Murphy and Birmingham Rep have struck gold with this killer production. Completely flawless, you can forget the worst pies in London, Sweeney Todd is unquestionably the best show in Birmingham. In fact, it is by far the best show I have ever seen at Birmingham Rep, a theatre I’ve frequented a fair few times in recent years. Though not everyone makes it out of this musical alive, it would be a crime if there was no further life for this flawless production. Whether that be a tour or a deserved West End transfer, this take on a classic tale deserves to be seen by the masses. In the meantime, a trip to Birmingham would be highly recommended so you can attend the tale for yourself.
Sweeney Todd - The Demon Barber of Fleet Street plays at Birmingham Rep until 15th August. Tickets from https://www.birmingham-rep.co.uk/whats-on/sweeney-todd-the-demon-barber-of-fleet-street/
Photos by Manuel Harlan