Sweeney Todd at Birmingham Rep Review

Written by Katie for Theatre and Tonic

Disclaimer: Gifted tickets in exchange for an honest review. All views are our own

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The iconic demon barber has set up shop in Birmingham this summer for this highly anticipated revival of Sondheim's masterpiece. Under the direction of Joe Murphy, this production is as captivating as it is unsettling. It's a beast of a show, blending a soaring, complex score with a gripping tale of a wronged man consumed by revenge. More than 45 years after its premiere, Sweeney Todd remains the gold standard for gothic storytelling.

This production succeeds because it never loses sight of the humanity at its core. These aren't caricatures of heroes and villains, they're deeply flawed humans, and the cast digs deep into every one of them.

Sweeney Todd is undoubtedly a monster, yet he's also a man broken by unimaginable loss, making his descent into vengeance strangely mesmerising to watch. Rather than opting for a quietly sinister interpretation, Ramin Karimloo is an imposing force and commands the stage with an almost frightening intensity. His Sweeney is a looming presence, wearing his fury openly, and his performance of ‘epiphany’ in particular was terrifyingly passionate. Karimloo is a vocal powerhouse, and he leads this company exquisitely.

Opposite him, Meow Meow is fabulously unhinged as Mrs Lovett. Now, we know Meow Meow is eccentric (everyone expects that already!), but the beauty here is that she changes the temperature of the show. Without her, Sweeney Todd risks becoming entirely bleak with no breathing room. She’s chaotic and unpredictable in that ‘kamikaze cabaret’ style we love her for, and although I was nervous during ‘The Worst Pies in London’ that this score didn’t sit in her voice totally well, she absolutely owned every second of this character.

The award-winning David Bedella gives us some of the most unsettling moments in the show as Judge Turpin. His rich, gravelly voice lends a chilling menace to the character. Murphy also chooses to include the often-cut and controversial ‘Johanna (Mea Culpa)’, leaning fully into the Judge's predatory obsession. It's an intentionally shocking sequence and one that many productions choose to soften or omit entirely. Here, its disturbingly literal portrayal leaves a knot in the pit of your stomach that lingers for the remainder of the first act.

This cast is epic in every sense of the word. The lead three have a catalogue of accolades that are impressive on their own, and this production is a masterclass in exactly why they have earned them

Murphy has assembled an exceptional ensemble around his stellar leading trio, and it really is a team effort. Jo Stephenson brings an innocence to Johanna, perfectly complementing Shem Omari James' eager and likeable Anthony Hope. Their romance brings a welcome softness to the rest of this dark show. This small cast of eleven really rises to the challenge of Sondheim's notoriously close, clashy harmonies, and it is stunning to listen to. The seamless way the principals blend in and out of the ensemble reinforces the feeling that this is a true company piece.

Elin Steele's set design and Rory Beaton's lighting work hand in hand to create a world that feels both grand and claustrophobic. Dominating the stage is a towering statue of Lady Justice, her looming gaze watching over the action as a constant reminder of the moral reckoning at the heart of the story. Steele makes excellent use of the space, with Sweeney's barber shop rising from the stage to reveal his infamous attic, and her stark black and white colour palette strips the world back to light and shadow. Beaton's lighting is equally impressive, casting enormous silhouettes across the stage and stark shadows over the actors' faces to create imagery that is as unsettling as it is beautiful.

If there's one criticism, it's that the first act occasionally outstays its welcome, and I’d love a couple of minutes shaved off in those middle parts. This is less a reflection of Murphy's direction than of Sondheim's writing, where several numbers bleed into one another and momentarily slow the show's momentum.

At its heart, Sweeney Todd asks what happens when grief, injustice and revenge are allowed to consume a person. Its characters are as compelling as they are devastating, brought vividly to life by a cast and creative team at the very top of their game. It has a timeless relevance and a sharp critique of the abuse of power, and this production is wildly entertaining.

Attend the tale of Sweeney Todd. Birmingham Rep has given it the revival it deserves.

Sweeney Todd plays at Birmingham Rep until 15 Aug 2026.

★★★★★