Theatre Review: Sweeney Todd at the Birmingham Rep
AD: This review refers to the 2026 Production of Sweeney Todd at the Birmingham Rep*
After missing out on the opportunity to attend the Sweeney Todd’s opening night last week, I jumped at the chance of coming along to review a week later. After all, I hear this show is one to die for…
Written in 1979, and with many previous productions on Broadway and in the West End, this killer revival of Stephen Sondheim’s masterpiece Sweeney Todd strikes a balance between gothic horror and dark humour. It’s a bold and ambitious undertaking by the Birmingham Rep’s Artistic Director Joe Murphy, but it turns out to be a triumph.
“What happened then, well, that’s the play, he wouldn’t want us to give it away”
A corrupt judge unjustly imprisons Fleet Street barber Benjamin Barker and takes away everything he loves. Down on his luck, Barker returns to London and reinvents himself as Sweeney Todd. Consumed by a burning desire for vengeance, his thirst for justice quickly turns into obsession, and he embarks on a violent murder spree. Partnership with his landlady – an opportunistic pie shop owner – comes to fruition with a gruesome enterprise – or is that enterpies? – turning human meat into money.
But there’s also love at the heart of Sweeney Todd. A young sailor loses his heart to the imprisoned Johanna, although she is betrothed to her guardian Judge Turpin. And the young assistant to a fraudulent barber finds a reluctant mother and remains fiercely loyal.
The opening number The Ballad of Sweeney Todd sets the tone, with clever exposition and stark lighting. In fact I don’t think I’d heard such a soaring and complex score gracing the stage of the Rep before, and the small orchestra deserve high praise under the musical direction of Leo Munby.
A towering Angel of Justice looms above Elin Steele’s austere set, serving as a symbolic reminder of the central themes of the show: obsession, corruption and justice. The sword and the scales cast atmospheric shadows; in fact, the evocative lighting design by Rory Beaton is impressive throughout. There are clever little details throughout, like the bloody meat grinder and the ingenious trapdoor underneath the barber’s chair.
Two imposing staircases frame the stage, and the central stage rises on hydraulics to provide impactful staging. The principal characters are clad in colour, in contrast to the monochrome costumes of the ensemble. The graduation of light to dark in the costumes reflects the stone wall backdrop
“The history of the world, my sweet, is who gets eaten and who gets to eat.
Theatre legend Ramin Karimloo takes on the titular role of Sweeney Todd. He commands the stage and gives a mesmerising and intense performance. He is angry and passionate, broken by loss and grief, and obsessed by revenge. His nonchalance as he wields his razor blade and dispatches another client to the pie ovens is both diabolical and fascinating. Karimloo has previously captivated me as the Phantom, and his vocal abilities are as equally effortless here. His “Epiphany” is magnificent, and somehow, despite everything, he manages to get the audience on side.
Cabaret artist Meow Meow gives us a wonderfully depraved Mrs Lovett. She brings chaos and comedy to the role, leaving the audience both laughing and recoiling with incredulous horror. Her relationship with Todd is both entertaining and unsettling; how Karimloo remains unyieldingly stern during her ridiculous turn in “By the Sea” is a credit to his professionalism.
Olivier award-winning David Bedella is a chilling Judge Turpin, with a shocking, predatory obsession with Johanna. His performance is sometimes uncomfortable to watch, a testament to his acting prowess. although he does occasionally play the part a little “pantomime villain”. I fully expect the audience to boo every time he walks on stage.
The rest of this small but stunning ensemble delivers. Shem Omari James as Anthony Hope and Jack Gibson as Tobias Ragg are particular standouts, along with Jo Stephenson as Johanna. They provide moments of light and warmth, a welcome contrast to darker deeds. The first act lover’s duet “Kiss Me” is delightful, with Stephenson deftly handling the quick tongue-twisting lyrics. Gibson’s touching “Not While I’m Around” is a particular highlight of the second act.
Despite their flaws, humanity remains at the heart of each character, whether hero or villain. Judge Turpin aside. Todd is determined not to return to the naïve man he once was. Mrs Lovett is desperate for affection.
“So what if none of their souls were saved? They went to their maker impeccably shaved.”
At close to three hours, this is a long show, yet well-paced. Despite the serious nature, it’s never heavy-going. In fact it’s unusual for a show with such brutality and violence to combine so effortlessly with razor-sharp wit, a compelling narrative and an outstanding score.
Don’t risk a close shave. The razor-sharp Sweeney Todd plays at the Birmingham Rep until Saturday 15th August 2026 – you can book your tickets here.
“…shepherd’s pie peppered with actual shepherd on top!”
Photo Credits: Manuel Harlan
*This post is marked as an AD as Birmingham Rep invited me to attend this performance of Sweeney Todd. However you can trust that I will always be honest and truthful on A Brummie Home and Abroad, and being an invited guest does not influence my opinion in any way.
