Through the lives of the characters, a picture emerges of 19th-century London where injustice prevails. A society in which the justice system works in the interests of those who dish it out, where inequality is institutional, and where abuse by those with power over others includes sexual abuse of women and girls.

Having been transported to Australia on petty charges by Judge Turpin so that Turpin could seduce his wife, Sweeney Todd is, himself, a victim of injustice. His quest for revenge on the judge is, on one level, understandable. But, as his desire to be reunited with his daughter (now the object of the judge’s lust) grows, so his anger is fuelled. His barber’s shop, conveniently located above Mrs Lovett’s pie shop, and his deadly razor at the ready, he starts to murder people indiscriminately. The die is cast.

Performances are impressive across the entire cast. Ramin Karimloo, wearing his pain on his sleeve, is brooding and angst-ridden as Sweeney Todd. The manipulative Mrs Lovett is played by the show-stealing Meow Meow. Treading a fine line between hamming it up and understatement, her judgement is meticulous, and she never gets it wrong. David Bedella brings a sinister and predatory edge to Judge Turpin, whilst Julius D’Silva portrays a malicious but ridiculous Beadle.

Sondheim’s score, performed by a seven-piece orchestra, plays to this array of motives and emotions brilliantly. Musical themes link characters and events, darker parts of the narrative are reflected in dissonant harmonies, and songs of love are beautifully melodic. Dissimilar melodies are brought together in duets that express conflicting emotions and reinforce the inner conflict of characters.

All of the cast have strong and expressive voices, and lyrics are clear throughout. Shem Omari James, performing Anthony, is particularly moving in his love songs, whilst Jo Stephenson, who plays Johanna, the object of his love, has a huge vocal range. Together, their singing is a musical highlight. Jack Gibson as Toby also delivers some beautiful melodies, and Florence Andrews as the Beggar Woman brings character to her vocal delivery.

The production’s staging is spare, yet filled with a sense of theatre. Dry ice, silvered costumes and subdued lighting set the tone of the piece, conveying a suggestion of malice. A platform rises and falls, allowing for one setting to be counterposed with another. At times, it is a space for a masked ball. At other times, it is the setting of Sweeney Todd’s barber shop, with its trap door for bodies to be dropped into the pie shop below. Costume changes are minimal but significant. In her new outfit, we see the rise and fall of Mrs Lovett as her plans to become wealthy go awry.

Edgy and bold, this production delivers on every level. Revenge may not be sweet, but this production certainly hits the sweet spot.

Sweeney Todd the Demon Barber of Fleet Street was directed by Joe Murphy. The designer was Elin Steele and lighting design was by Rory Beaton. Musical supervisor and orchestral reduction were by Dr. John Rigby, and the musical director was Leo Munby.

Music and lyrics were by Stephen Sondheim. The book was by Hugh Wheeler, and the production was from an adaptation by Christopher Bond

Birmingam Rep’s age guidance for the production is 14+. It runs at the Rep until 15th August. For further information visit birmingham-rep.co.uk.