As an NSTA representative, I had the pleasure of attending Hurstpierpoint College’s highly engaging and darkly entertaining performance of Sweeney Todd on Friday 6 February 2026. Under the expert guidance of the Director Mr Alex Ward and Musical Director Mr Neil Matthews, this production of the bloodcurdling operatic musical was nothing short of extraordinary. The show hurtled forward with macabre comedy, powerful music, and a deliciously unsettling sense of impending doom.
In Sondheim and Wheeler’s darkly compelling musical Sweeney Todd: The Demon Barber of Fleet Street, Benjamin Barker returns to Victorian London after years of wrongful exile, reborn as the vengeful barber Sweeney Todd. The city he once knew has become a fog-choked labyrinth of corruption, and the judge who destroyed his life still walks free. Todd establishes a barbershop above Mrs Lovett’s failing pie shop, and together they devise a plan that spirals from unsettling to unhinged with wicked speed. It is a story of vengeance, desire, and the terrifying ease with which a good man can become a monster when pushed too far.
The foreboding atmosphere was established instantly through sinister projection and the dramatic tearing down of the curtain by the ominous Londoners. The set revealed behind transported the audience to the grimy, threatening streets of Victorian London. Plentiful haze and moody lighting, designed by Alex Wintle and operated by Year 8 student Barney, heightened the treacherous environment. Striking red hues in the lighting design offered a vivid portrayal of anger, violence, and blood, particularly effective in the opening scene as a warning of the horrors to come.
The ensemble’s mesmerising and menacing energy was felt immediately, especially when characters surrounded the audience in the aisles. Every ensemble member contributed to the production’s atmospheric power with meticulous physical and vocal detail. Their command of the complex score, combined with Hester Gill’s authentic and dramatic movement choreography, fully immersed the audience in the disturbing world of the piece.
Thomas delivered a compelling and nuanced portrayal of Sweeney Todd. His resonant vocals and detailed acting charted the character’s descent from a man driven by broken love and the desire to rescue his daughter, to a killer consumed by obsession. He succeeded in deeply unsettling the audience with his brutality while still evoking sympathy for a wronged man whose rage is born of social injustice.
Opposite him, Katie was triumphant as Mrs Lovett, the cunning and amoral entrepreneur whose pragmatism fuels the story’s darkest turns. Her performance was rich in detail, from pitch perfect vocals and crystal clear diction, to sharply observed physicality. She embodied Lovett’s manipulative charm and darkly comic counterpoint to Todd’s brooding vengeance with remarkable assurance. Together, Katie and Thomas formed a superb double act, their chemistry and musicality elevating Sondheim’s intricate harmonies and lyricism to a professional standard. Their renditions of ‘A Little Priest’ and ‘By the Sea’ were particular highlights.
Paddy and Annabelle brought warmth and sincerity to the roles of Anthony and Johanna, capturing the innocence and excitement of young love. Their chemistry was evident, and they navigated the harmonic sophistication of their vocal performances with ease. ‘Kiss Me’ stood out for its playfulness and lightness, offering a striking contrast to the darkness surrounding them. Both actors demonstrated impressive versatility in the scene at Fogg’s Asylum, where Dorothy chillingly portrayed the Mistress’s abusive delight in her position of power.
Lara, double cast as Johanna, played Young Lucy in this performance with captivating stage presence, suggesting she would have delivered an equally accomplished Johanna on alternate nights. The overall quality of the cast also indicated that Jonty and Maisie would have given excellent performances as Judge Turpin and Toby respectively. It would have been a pleasure to watch the production again to see their interpretations.
Isabelle set the tone brilliantly from the outset as the Beggar Woman, capturing both the dark comedy and the tragic foreboding of her character. Her mature handling of comic elements, alongside the haunting, fractured and prophetic nature of the role, was highly impressive. She portrayed the character’s profound distress with conviction and emotional depth.
Finn gave a mature and courageous performance as Judge Turpin, a deeply corrupt and sadistic figure masked by aristocratic civility. He conveyed the character’s inner turmoil with unsettling clarity, particularly in his solo. Joe, as Beadle Bamford, embodied official cruelty with a veneer of politeness. His sycophantic manner was captured masterfully, with the organ duet with Mrs Lovett providing a memorable moment, especially that final note!
Further dark comedy came from Jem as Pirelli and Emily as his eager yet exploited assistant, Toby. Jem’s extravagant vocals and flamboyant physicality allowed the audience to delight in Pirelli’s showmanship while relishing the downfall of his corrupt persona. Emily offered a moving and convincing character arc, shifting from naïve orphan to courageous yet traumatised adolescent, broken by the truth of Sweeney’s crimes.
Every cast and crew member contributed meaningfully to the production’s success. Those behind the scenes – so often overlooked – deserve particular recognition. Alongside Barney on lights, Thomas, Darragh, Scarlett, Lex and Oliver played vital backstage roles in creating the menacing world of the show. Issy’s contribution to the orchestra also deserves commendation, supporting the intricate and dynamic musical landscape. Hurstpierpoint’s Sweeney Todd demonstrated the extraordinary potential of young performers under skilful leadership to tackle a production of immense thematic and technical complexity with sophistication and professionalism. Every detail of this production revealed how enriching and essential drama is in schools, showcasing the remarkable talent, dedication and collaborative spirit of both pupils and staff.