There is always a little apprehension when you go to see a musical you already love. Will it live up to previous productions? Will it bring anything new? Having always loved Stephen Sondheim’s work, I arrived at Birmingham Rep excited but slightly nervous to see their interpretation of Sweeney Todd: The Demon Barber of Fleet Street.
By the time the standing ovation began, those doubts had completely disappeared.
A Chilling, Clever and Completely Unforgettable Production
First Impressions
One of the first things that struck me wasn’t the music or even the cast. It was the set.
As we took our seats, the curtain was already up and the stage was dominated by an enormous statue towering above everything else. Initially, I wasn’t entirely sure what it represented. It almost felt biblical, like something you might expect to find in a cathedral rather than a theatre.
It wasn’t until I read the programme afterwards that I realised it represented Lady Justice, and suddenly everything made sense. The symbolism perfectly reflected the themes of morality, corruption and revenge that run throughout the production.
The set itself was incredibly clever. I wouldn’t describe it as minimalist because there was so much thought behind every element. The blackened stonework created a constant sense of unease, while details such as the smoke rising through the floor grating and Mrs Lovett’s pie shop emerging from beneath the stage transformed the space effortlessly. Rather than relying on elaborate scene changes, everything flowed naturally, allowing the storytelling to remain centre stage.
A Cast That Never Missed a Beat
The standard of performance throughout the company was exceptional.
Ramin Karimloo brought incredible emotional depth to Sweeney Todd, balancing his quiet grief, simmering anger and thirst for revenge with remarkable subtlety. His vocals were outstanding, particularly during his solo numbers, where every note carried genuine emotion rather than simply showcasing vocal ability.
What impressed me most, however, was that every principal character was given an opportunity to shine.
Anthony and Johanna’s scenes together were breathtaking. Their voices blended beautifully, with Jo Stephenson’s soaring, operatic vocals perfectly complementing Shem Omari James’ warmth and sincerity. Stephen Sondheim’s score is famously complex, but the two performers made it feel effortless.
Jack Gibson’s portrayal of Tobias was another standout, delivering moments of real innocence alongside beautifully performed solo passages that added genuine heart to the production.
Meow Meow’s Outstanding Mrs Lovett
If there was one performance that completely stole the show for me, it was Meow Meow as Mrs Lovett.
This is a role that audiences naturally compare to previous portrayals, particularly Helena Bonham Carter’s performance in Tim Burton’s film. Stepping into those shoes could easily become an imitation.
Instead, Meow Meow created a Mrs Lovett that felt entirely her own.
Her comic timing was simply impeccable.
It wasn’t just the jokes themselves. It was the pauses before delivering a line, the perfectly judged sideways glances towards the audience, the tiny vocal inflections and the wonderfully expressive facial expressions that squeezed every ounce of humour from Sondheim’s lyrics. She had the audience laughing one moment before reminding us just how dark this story really is.
Her chemistry with Ramin Karimloo was fantastic throughout, creating exactly the uncomfortable balance between comedy and horror that makes Sweeney Todd such an extraordinary piece of theatre.
The Villain You Love to Hate
One scene that genuinely stayed with me was Judge Turpin’s interactions with Johanna.
The way these scenes were staged made me feel genuinely uncomfortable, exactly as they should. Rather than presenting him as a stereotypical villain, David Bedella’s performance highlighted the disturbing abuse of power at the heart of the character. I found myself feeling real disgust and anger, which is a testament to both the writing and the performance.
It’s rare that theatre can provoke such a strong emotional reaction, but this production certainly managed it.
An Audience Completely Invested
One of my favourite moments actually came during the interval.
Usually, audiences head for drinks or the toilets and conversations drift towards everyday life. Here, the entire foyer seemed to be buzzing about the performance itself. Everywhere you looked people were discussing favourite scenes, favourite performances and just how incredible the vocals had been.
We ended up chatting to a lady visiting Birmingham from Australia, who happened to be a singer herself. She told us she hadn’t expected the production to be quite so good and was completely blown away.
That conversation summed up the atmosphere perfectly.
Nobody wanted the evening to end.
Back inside the auditorium, several musical numbers were met with such enthusiastic applause that the cast had to pause before continuing. Then, as the final curtain fell, the audience were on their feet almost instantly. It was one of the quickest standing ovations I’ve ever experienced, followed by multiple curtain calls that were richly deserved.
Whether you’re already a Stephen Sondheim fan or have never experienced Sweeney Todd before, Birmingham Rep’s production is absolutely worth seeing.
It is visually striking without ever overshadowing the performances, beautifully sung, expertly acted and balances horror, humour and heartbreak with incredible precision.
Even knowing the story, I found myself completely absorbed from beginning to end. Watching my mum, who knew the film but had never experienced the stage production, react to every twist reminded me just how brilliantly crafted this musical really is.
Some productions entertain you for an evening.
Others stay with you long after the final curtain has fallen.
For me, Birmingham Rep’s Sweeney Todd was very much the latter. It was one of those rare evenings where every member of the cast had their moment to shine, the audience became part of the experience and, by the end, nobody seemed quite ready to leave.
If you get the chance to see it, take it. I don’t think you’ll regret it.
Last Updated on Sunday, July 26, 2026 by Lavania Oluban