’ll admit it — when I heard this was a youth production of Sweeney Todd at Nottingham Arts Theatre, I arrived with curiosity… and a small reservation. Stephen Sondheim’s darkest musical is hardly gentle material. Cannibalistic pies, vengeance, moral decay — it’s a tall order for any company, let alone a youth cast.
But within minutes of the opening chords, those doubts were firmly shown the door.
From the first ominous notes of The Ballad of Sweeney Todd, this company makes it clear they’re not here to do a polite version of Fleet Street — they’re diving headfirst into its darkness. And it works. Gloriously.
The production leans into a steampunk, clockwork world that suits Nottingham Arts Theatre’s space perfectly. With clever staging and confident movement, the ensemble conjures Victorian London through sheer storytelling energy. No elaborate spectacle needed — just commitment, imagination, and a strong sense of physical theatre.
And what a committed ensemble it is. The chorus moves like a restless crowd of Londoners, narrating the story with a delicious sense of foreboding. Cloaked, ominous figures drift through scenes — almost spectral, almost demonic — shadowing Todd and his victims. It’s a reminder that in Sweeney Todd, the city itself is a character: hungry, grinding, and slightly unhinged. The movement throughout is a masterclass in precision, expression, and atmosphere.
Kudos to director Abby Wells — every element of her vision feels fully realised by this cast. Production manager Jessica Royce, alongside Paige and Connie, delivers detailed props and costumes that ground the world beautifully. The set and stage management, led by Nick Hudson and his team, keep everything fluid — my only small note being that some transitions (and the handling of the “dead”, dead men don’t walk!) could be more fully absorbed into the action.
Sondheim’s score is famously unforgiving, but this cast tackles it with impressive confidence. Harmonies are clean, rhythms drive the storytelling, and the ensemble numbers have a real pulse. There’s clearly been a huge amount of musical work behind this.
Musical director Jonah Williams shows exactly why he’s in such demand — leading the orchestra with control and clarity, while bringing out the weight and texture of the score. The fact he’s worked with two principal casts makes this even more impressive. Tonight, I watched Team Baker.
Jonathan Jaycock’s Sweeney is driven by quiet rage rather than melodrama. There’s restraint here, which makes the moments of violence land harder — a man worn down by injustice, now sharpening his razors accordingly. Emily-Hope Wilkins as Mrs Lovett is a delight — warm, witty, and just the right side of calculating. You laugh… and then immediately question yourself for doing so.
Noah Bator’s Anthony brings sincerity and light into the gloom, with clear, heartfelt vocals that anchor the story emotionally. Grace Jones-Eccles’ Johanna is full of yearning and quiet strength, her vocals genuinely sublime and lifting every moment she’s in.
Tom Telford’s Judge Turpin is controlled, unsettling, and quietly menacing — a performance that never needs to push to feel threatening. Oliver Sheard’s Beadle is a standout — precise, slightly oily, and brilliantly characterised. A unique take, and my personal highlight of the evening.
William Curtis gives Tobias real emotional depth, moving from innocence to heartbreak with a vulnerability that lands
Jamie Adlam’s Pirelli bursts onto the stage with flair and confidence — bold, ridiculous, and completely captivating, handling the character shift with ease. And Amelia Scurfield’s Beggar Woman threads hauntingly through the piece — often overlooked, but here given a physical presence that lingers long before the story reveals its full weight.
What I particularly admire is the fearlessness. This production doesn’t soften the material because of the cast’s age — it leans into the gothic darkness and trusts the audience to follow.
And we do..
