Review: SWEENEY TODD: THE DEMON BARBER OF FLEET STREET - Birmingham Rep (14/07/26)

Latest staging of Sondheim masterpiece has us on a knife edge

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It's more than 4 and a half decades since audiences first attended the tale on broadway, and this macabre Stephen Sondheim and Hugh Wheeler musical, based on the 19th century Penny Dreadful series "The String of Pearls", remains one of the most popular and frequently staged of all time. Set in 1846, young sailor Anthony Hope arrives in London with the enigmatic eponymous figure, whom he has rescued at sea, following being wrongfully exiled for 15 years by the corrupt Judge Turpin, who removed Todd from the picture on false charges with the intention of marrying his wife Lucy, subsequently raising and grooming the pair's daughter Johanna after driving her mother mad. This is, quite simply put, a story of impassioned vengeance and violence, as well as the systemic corruption that resulted in Todd's exile.

Directed by Joe Murphy, this is a significantly scaled down staging from previous iterations, with a cast of only 11, bringing this historically epic odyssey to the stage, and the big question on many people's lips will undoubtedly be whether the story retains its unashamedly horrific nature in spite of this. What this production lacks in scale it more than makes up for in pure grisly, gruesome glee, expertly balancing the grim humour with moments of true terror, with the centrepiece undoubtedly being Sondheim's score: intense, rivetingly cinematic, and even with reduced orchestration manages to draw every drop of suspense and terror, for which orchestrator Dr John Rigby deserves immense acclaim.

The company of "Sweeney Todd: The Demon Barber of Fleet Street" (credit: Manuel Harlan)

What was also hugely impressive was how the cast were utilised, often flowing in and out of ensemble roles like the proverbial river of blood left by Mr Todd, and the use of costumes by Elin Steele to highlight this was rather ingenious. This meant we never felt like the ensemble was lacking in any way, and the chorus vocals were a major highlight, with a mind-blowing collective range of around 4 octaves, from Jo Stephenson (also Johanna) and her heavenly, soaring soprano, to the rumbling bass notes of David Bedella (Judge Turpin). All of this makes us feel, under Leo Munby's masterful musical direction, like we were experiencing a far larger company than the unit of 11 exceedingly accomplished performers (and orchestra of just 8 musicians) who were present to tell this timeless classic.

Fronting this more intimate staging was a pair of performers with likely varying degrees of notability in theatrical circles, but who teamed up marvellously well to lead the way. Best known for his more suave, charming roles, broadway juggernaut Ramin Karimloo brings fervour, menace, and a healthy helping of the unhinged to the role of Sweeney, always with a twinge of derangement in his eye, and all whilst displaying his gorgeous lower notes. Karimloo proves he has power and richness across his entire vocal range, and can really let rip when he wants to, with moments of real ferocity.

The figure of Meow Meow (real name Melissa Madden Gray) is one that will have undoubtedly been fairly unknown to many going into this production, but there's absolutely no doubt that she left a lasting impression, as she explodes onto the scene with her kooky, bombastic take on the character of Mrs Lovett. With a slight hint of Angela Lansbury about her, she still simultaneously managed to make the role her own, with her natural charm and wicked sense of humour; Meow Meow's took that role by the scruff of the neck, baked it into a pie, and proceeded to absolutely eat it for breakfast, never letting up from start to finish.

Ramin Karimloo and Meow Meow (credit: Manuel Harlan)

Sadly it wasn't a full house of first rate performances, as in spite of Bedella's natural, inbuilt charm, it just never felt like he fit the role of Judge Turpin, as we never gained the full force of the character's slithery, conniving, predatory nature, nor do we ever really feel repulsed by or fearful of him as a villain; as strong as his vocal showing was, I was just left wanting in terms of having an antagonist you can't help but despise. His right hand man Julius D'Silva as Beadle Bamford, safe for a couple of moments of vocal pitchiness, was appropriately flamboyant and camp, providing often much welcomed comic relief to slice through the tension. Additionally Jack Gibson positively charmed our socks off, then ended up leaving us clinging to the edges of our seats as Tobias, a complete performance from a terrific up and coming talent.

There is plenty to love about this new staging, as director Murphy proved that it's possible to embark on this most chilling, brutal of theatrical crusades with a more intimate, stripped back staging, and the visual palate, with the combination of Steele's sets and some marvellous lighting design by Rory Beaton, made this feel like a full bodied production. It isn't perfect, as there was the occasional moment of stagnancy when it came to blocking and movement, but it certainly made the desired impact, really giving story and music alike plenty of blood-soaked welly.

★★★★☆ (4*)

"Sweeney Todd" runs at the Birmingham Rep until the 15th of August (tickets)

{PR/Gifted tickets}