Review: SWEENEY TODD, New Athenaeum Theatre

Sweeney Todd arrives at the Royal Conservatoire of Scotland this December, where director Aaron Lee Lambert delivers a humorous, witty, magically ridiculous and thought-provoking take on Sondheim’s challenging musical.

This production follows the infamous serial-killer barber of Fleet Street and his gleefully opportunistic partner-in-crime, Mrs Lovett, who bakes his victims into pies and sells them with alarming success. The image of a masked, straitjacketed victim rocking back and forth onstage made for an unsettling opening tableau... one that becomes particularly symbolic later once the audience discovers the character’s true identity.

Joseph Mathieson Gill was bloody excellent as Sweeney. His portrayal offered a smooth, endearing charm while meticulously balancing Sweeney’s duality: a tortured victim wronged by a corrupt society, and a ruthless bloodthirsty villain. His rendition of “Epiphany” was hauntingly chilling, capturing Sweeney’s plunge into homicidal madness with unsettling precision. The directorial choice to break the fourth wall during this number made it even more disturbing (almost Brechtian), forcing the audience to reflect on our own society’s appetite for violence, corruption and spectacle.

His chemistry with Mrs Lovett, played with wicked brilliance by Avril McLoughlin, strongly grounds this production. McLoughlin brings a humourous, awkward affectionately unhinged edge to Mrs Lovett. Todd's rival barber Adolfo Pirelli is played delightfully by Grace Bennett, who is absolutely hilarious bouncing beautifully off William Collier's Tobias Ragg.

The ensemble were also exceptional, sporting crisp choreography, bold expressions and just the right amount of ridiculousness. In true Sondheim fashion, the vocals rea exceptionally demanding, yet every actor delivers them with clarity, confidence and character. The opening “Ballad of Sweeney Todd” gave me goosebumps. Ensemble standouts include Letago Makola and Mizuki Shuzenji, who steal focus in the best possible ways. Whilst Bailey Easton and Elsie Watson showcased strong talent as the earnest sailor Anthony Hope and Sweeney’s daughter Johanna, I found their subplot less engaging than the darkly compelling dynamic between Mrs Lovett and Sweeney.

Visually, the production is astonishing. I cannot fault Claire Halleran’s set and costume design and Kai Fischer’s lighting. A highlight is the pie kitchen with a wonderfully absurd slide where realistic dummies of victim's bodies tumbled down. The attention to detail is impeccable. 

The lack of gore used was a welcome artistic choice. By minimising the blood and shock factor, the production drew us more deeply into the absurdity of the story, the dark humour, and the wider reflective messages of the piece.

As I was leaving, I overheard someone say, “That was like a West End show" and it absolutely was. A high-level production that blended humour, horror and heart with remarkable skill.

A dark, absurd exploration of revenge, corruption, and the way obsession can devour both individuals and society. And at its core: the lingering question of whether evil is inherent... or imposed.

Sweeney Todd: The Demon Barber of Fleet Street was at the New Athenaeum Theatre until the 5 December.

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