Ominous organ chords crashing through a darkened theatre signal that Stephen Sondheim is in baleful mood, and that the new-style Oxford University Dramatic Society has come of age, writes Jeannine Alton.

This is a seriously ambitious undertaking with a chorus of 18, a concealed orchestra of 24 with TV monitors in the circle and ten principal singer-actors. No wonder they've needed over eight months' preparation and a permanent look-out scouting for rehearsal space.

Sondheim, the first of Oxford's splendid cavalcade of Cameron Mackintosh professors of Contemporary Theatre (current incumbent: Nicholas 'Madness of King George' Hytner) won eight Tony Awards for this musical thriller.

Yet it's a difficult sinister piece even from a man notorious for looking on life's underside. The orchestral textures are complex, the vocal lines testing; above all the central theme of one wronged man's revenge expands into savagery in which society tacitly connives.

So it's not a comfortable experience. But OUDS gives a barnstorming production combining ensemble with some outstanding individual performances.

Jo Manser's flexible design is marred by too high a balcony for Johanna (Sweeney's lost daughter) and obstructive railings, and some of the cast falter with Sondheim's rapid-fire numbers. Musical Director Alex Hall follows the sophisticated score with great subtlety and has fun with the falsettos of the quack Pirelli (Benjamin Seifert) and the ineffably camp Beadle (Nat Coleman).

Director Martin Roe shows his experienced skill with the crowd scenes in the market, clamouring for "more hot pies" and in the dark final reprise.

Sound work comes from Kieron Quirke as the smug Judge Turpin concealing his desperate repressed passion for Johanna and "pretty women", Simon Ross as Toby the Dickensian waif turned avenging angel and Benedict Protheroe as young Anthony with his sweet serenade on a rising motif for his Johanna.

Katy Brand as Sweeney's evil accomplice Mrs Lovett grows coarser and more scary as her crimes and pies stack up. And she has a terrific voice, a match for Sweeney in their brutal-comic paean 'a little priest' which closes the first act.

Taking time off from his chosen career as a professional writer, Peter Morris has never been better as Sweeney.

Towering and controlled, his white fixed features and impassive glare put him beyond the everyday world and nearer to a Verdi Iago.

So OUDS offers a superbly dressed and drilled performance to the highest standards. It is on until Saturday. Just don't eat the pie.