Review: SWEENEY TODD: THE DEMON BARBER OF FLEET STREET, Birmingham Rep
Photo credit: Manuel Harlan
Last night, we did indeed attend the tale of Sweeney Todd at leading UK regional producing house, Birmingham Rep. The excitement surrounding this production has been palpable in the lead-up to its opening, and the buzz filling the foyer ahead of the press-night performance only heightened that anticipation. With an award-winning principal cast and strong creative leadership from Joe Murphy, Artistic Director of Birmingham Rep and director of the production, it appeared to tick every musical theatre fan’s wish list before we had even stepped inside the auditorium. But did the quality promised on paper translate to the stage? Please read on…
Sweeney Todd: The Demon Barber of Fleet Street follows Benjamin Barker, a barber who returns to Georgian London (as per the original tale) under the alias Sweeney Todd after being wrongly imprisoned by the corrupt Judge Turpin, who stole his wife and took custody of his daughter, Johanna. Consumed by revenge, Todd joins forces with resourceful pie-shop owner Mrs Lovett, who encourages him to murder his customers and dispose of their bodies by baking them into her meat pies. As his thirst for vengeance descends into indiscriminate killing, Todd becomes blinded to the truth, triggering a devastating series of revelations and tragic consequences that leave almost every major character destroyed.
Upon entering The House, we are greeted by a stunning monochrome front cloth depicting a demon or fallen angel, clearly hand-painted with enormous precision and care. It makes an immediate statement, setting the tone for Elin Steele’s brilliantly designed, large-scale set. Its gradient colour palette moves from white to black, with a statue of Lady Justice positioned upstage centre as the striking focal point, silently overlooking the proceedings.
This transition from light to darkness is echoed in Steele’s ensemble costumes, which have an almost soot-stained appearance. They contrast effectively with the brighter colours worn by certain characters, including the aspirational Mrs Lovett in yellow and Judge Turpin in purple. Stone-effect steps frame either side of the playing space, providing additional entrances and exits, while a lift creates multiple levels and allows Todd’s barber shop to sit directly above Mrs Lovett’s pie shop in one memorable visual. These elements are utilised well and give Murphy plenty of scope within his direction and blocking.
Rory Beaton’s haunting lighting design makes excellent use of shadow, creating the dark and sinister atmosphere so closely associated with the musical. The opening image, in which the ensemble is dramatically up-lit while appearing to swim through a smoky haze, is arguably the most striking of the entire production. It is a powerful picture, and one that is revisited effectively during the reprises as the story progresses.
Stephen Sondheim’s score and lyrics are held in the highest regard by musical theatre fans, so hearing that the orchestra had been reduced to just nine musicians initially caused us some concern. That said, Dr John Rigby has done an excellent job of ensuring audiences are not left disappointed. Naturally, some of the richness and fullness within the score is lost, but this never significantly dampens the experience of hearing Sondheim’s iconic work performed live. Early concerns that the orchestra had been amplified a little too loudly are also soon quashed. Kelsh Buckman-Drage’s sound design is excellent, allowing every one of Sondheim’s witty and intricate lyrics to be heard with the utmost clarity.
The small but mighty cast of eleven forms an incredibly hardworking company, with multi-roling galore outside the roles of Sweeney and Mrs Lovett. It is occasionally a little jarring to see performers playing Judge Turpin, Johanna and Anthony appearing within the ensemble scenes not as their easily identifiable characters, but on the whole, the company manages the demands of such a compact cast extremely well.
West End and Broadway superstar Ramin Karimloo takes on the title role and, boy, Birmingham, are you lucky to have him in your city! We are HUGE fans of Ramin at WEBF and on paper, this feels like a match made in heaven, particularly given his previous associations with productions including Phantom of the Opera and Les Misérables. Vocally, he is an absolute dream and we could not have asked for more.
Our slight reservation lies within some of the character choices made by Karimloo and director Murphy. We long for more of an emotional push and pull, alongside a stronger character arc charting Todd’s descent into becoming a mass murderer. Greater menace and a heightened sense of danger would elevate the performance even further. That said, we greatly enjoy Karimloo’s onstage chemistry with international cabaret star Meow Meow as Mrs Lovett.
Lovett’s desperation for Todd to love her is endearing, yet incredibly pathetic - bless her - while her comedic timing, boundless energy and physicality are faultless throughout. However, her upper vocal range does not always feel strong enough for the demands of the score, something that becomes apparent early on during her first number, ‘The Worst Pies in London’. With greater strength in this area, it would undoubtedly be Meow Meow’s show by a mile.
Three-time Olivier Award winner David Bedella plays Judge Turpin, having previously taken on the title role around a decade ago. His instantly recognisable baritone voice remains world-class, and he perfectly captures Turpin’s slimy, lecherous swagger. His performance of ‘Pretty Women’ alongside Karimloo is a genuine vocal masterclass.
Young lovers Johanna and Anthony, played by Jo Stephenson and Shem Omari James respectively, both deliver beautiful performances. Florence Andrews is also suitably unsettling as the Beggar Woman, whose regular presence and air of mystery provoke exactly the right level of intrigue. Jack Gibson deserves a notable mention as Tobias, with his rendition of ‘Not While I’m Around’ proving stunningly believable and utterly heart-wrenching.
A visually arresting and vocally sublime Sweeney Todd featuring a stellar cast, though we couldn't help but crave just a little more bite beneath its razor-sharp surface.
**** Four stars
Reviewed by: Jenny Ell
