★★

“The cast of seven worked as well as they could and the standout performances were the two children”

A two-night run at the London Palladium of new musical Figaro – An Original Musical; with music, lyrics, co-book, co-created, orchestrated and arranged by Ashley Jana and co-book, co-created and directed by Will Nunziata.

This was a brave move to put a “full” production on stage of a new musical on to such an iconic stage – but the hope would be that it will be picked up and given an onward life. Clearly a lot of development, time and money has gone into the show to date and it already has a list of 10 producers’ names above the title. This is American duo’s Jana and Nunziata’s first musical – and one wonder’s why it was premiered in this showcase in London’s West End rather than Broadway?

Figaro – An Original Musical is set in Italy and tells the story of Sienna (Cayleigh Capaldi) who dreams of singing professionally but lives a hard life on the farm with her father (Daniel Brocklebank). On a rainy day at the local market, she gets separated from her father and finds herself in a completely different town, and, as her head spins, she is saved by two young orphans who take her to their home, a travelling circus run by the Svengali that is Figaro (Jon Robyns). Very much like the story of Phantom of the Opera, Sienna becomes the bright shining singing star of the travelling show, replacing the original star and lover of Figaro, Lucia (Aimie Atkinson). But it was never going to end well, as we knew, having seen a dead Figaro lying at the feet of Sienna at the opening of the show before it then goes back in time to the beginning of the story – very Sunset Boulevard.

The book needs a lot of work still, with various storylines left in the air and grating lines such as the dastardly Figaro ordering the innocent Sienna “meet me in the alley in 10 minutes”. The score is ballad after ballad, everyone sings a ballad, none of which move the musical on, with lyrics like “April showers, fake plastic flowers” when singing of a broken heart. Mostly the end of the songs come as a slight surprise, as they seem to peter out and never quite finish, even though most have a strong and telling key change.

The cast of seven worked as well as they could and the standout performances were the two children, even though their storyline didn’t hold together. Both children already have strong leading West End credits to their names, Sophia Goodman having just played the titular role in Matilda, and Cian Eagle-Service is currently starring as Oliver in Oliver! which I recently saw and commented on his extraordinary voice, as being one to watch. They gave some sweet light relief. Throw in a caring seamstress Gia (Ava Brennan) who sees all but does nothing to help, and it is difficult to see where any of these characters might go.

Capaldi sings well with a great vocal range, but her big number, when Sienna sings like an angel for the first time, does not make the iconic and unforgettable scene that The Greatest Showman’s ‘Never Enough’ does, however similar. There is no passion or connection between Capaldi and the supposedly mesmeric Figaro (Jon Robyns); and other than hypnotising them all with his gold fob watch, it is difficult to see what possible hold Figaro has over everyone.

The opening number of Act II, sung by Robyns, might well sit better as a strong scene setting opening to the whole show. Act II could then open with Sienna making her glorious debut performance. Lose the picnic with Sienna and the children, with Figaro telling them that he had not killed Lucia…. which then would enable a dramatic scene seeing Lucia is very much alive in Act II seeking revenge – having ducked Figaro’s bullet which the audience thought had killed her at the end of Act One…… Are you keeping up?

Figaro – An Original Musical is a work in progress – and in many ways it was a shame that rather than the Musical in Concert on the Palladium stage as expected and advertised, it tried to be a full on production off book, with a one frame set, costumes (low budget mix between Six and Les Mis), and just the seven principles on stage – and no ensemble, not that there were any songs that could have been for a chorus, as all most definitely solo ballads.

For a first performance it was tight, well-rehearsed, with good sound and a strong band led by musical director Caitlin Morgan. They all get to perform Figaro – An Original Musical all over again on the 4th February – then maybe it’s back to the drawing board….

DEATH NOTE – THE MUSICAL IN CONCERT at the London Palladium

★★★★

“When the ensemble cast sing together the effect is mesmerising”

It is twenty years since “Death Note” stormed into the public consciousness, originally serialised in weekly instalments in Shõnen Jump, Japan’s most popular and iconic Manga magazine. I have to confess that this global phenomenon passed me by, but I humbly accept being in a minority bracket, judging by the crowds dressed in unconcealed enthusiasm at the London Palladium. The story was originally a bit of a risk for its publishers, straying from the tried-and-tested formula of intense action catering to an audience of mainly adolescent males. But it worked, and having been adapted into various media, including a US produced Netflix film, video and card-trading games and various sequels, the musical adaptation is the next obvious step.

Composer Frank Wildhorn shared my ignorance (I prefer innocence) of the Manga world when asked to turn it into a musical, but you’d never think it. Spurred on by his son who urged him to “drop everything and do this – because it will make you cool”, Wildhorn immersed himself in the source material. The end product is a score that redefines the word ‘cool’. A combination of electronica rock with an orchestral strength; it is both triumphant but also a lamentation. Bombastic but never overpowering, it reflects the atmospheric setting with a dark energy. Despite the subtle Japanese influences (perhaps too subtle), the production has the overall feel of an American rock concept album.

The concept of “Death Note” is fantastical, yet serious. High-school prodigy Light Yagami (Joaquin Pedro Valdes) is dismayed by the failures of the justice system. Meanwhile, two ‘Shinigami’ – gods of death from an otherworldly, unspecified dimension – watch over and decide, for fun, to drop the eponymous ‘death note’ into the human world. Light is the one who picks it up, thereby being granted the supernatural power to kill anyone whose name he writes in the pages of the book. Far from being horrified at the prospect, he immediately grasps the opportunity to use it to wipe out anyone he deems immoral. The aim is to create a crime-free society. From this very dubious precedent, what ensues is a cat-and-mouse psychological thriller that explores the quite weighty subject of justice and vigilantism. Light’s self-belief blinds him, and his acolytes, to the supposition that isn’t he just as murderous as his victims? “Death Note” shies away from instructing us which way to think, though the Shakespearian ending gives a couple of nudges.

Being unfamiliar with the ‘Manga’ genre and its iconography and terminology is not necessarily a bar to the intricacies of the plot, although the second act requires you to be slightly more on your toes. The characters are well formed, even if occupying the same two dimensions of the original animation. Billed as a musical in concert, the dialogue is subsequently sparse, with Jack Murphy’s lyrics guiding us through the narrative. Jason Howland’s sumptuous orchestration is given full justice by Musical Director Chris Ma’s sixteen-piece band. It is a sonic binge, yet the vocal performances cut through with a clarity that displays the talent within the cast. When the ensemble cast sing together the effect is mesmerising, and each of the seven lead cast members has their moment to shine. Francis Mayli McCann, as Misa – the rock superstar in awe of Light’s misplaced taste for vengeance, has strength and versatility matched by pretty much everyone else. The richness of Adam Pascal’s Ryuk (the spirit – Shinigami – who sets it all in motion by dropping the death note into the world) is complemented beautifully by Aimie Atkinson’s Rem – the other Shinigami. Atkinson’s and McCann’s duet that opens Act Two is a moment that lingers long after curtain call.

Dean John Wilson, as Light’s nemesis – the enigmatic detective known simply as L, has the richest pickings of the dialogue, conveying some of the humour and dynamism that is lacking in the show. One presumes Ivan Menchell’s book has been cut back for the concert version. The full text would allow for more light and shade, and the implicit humour and pathos would be given a longer rein. There is a noticeable emotional detachment, and consequently there is nobody we are rooting for.

But for pure musical rapture and spectacle, this show is second to none. Every pitch perfect note resonates through the vast auditorium of the Palladium. It is monumental and memorable; but also sold out. I wouldn’t leave it long, though, to book for its transfer to the Lyric, Shaftesbury Avenue in September. Although something tells me that “Death Note” is in for a long life.

FIGARO: AN ORIGINAL MUSICAL

London Palladium

★★

“The cast of seven worked as well as they could and the standout performances were the two children”

FIGARO: AN ORIGINAL MUSICAL

London Palladium

Reviewed on 3rd February 2025

by Debbie Rich

Photography by Fahad Alinizi

Previously reviewed at this venue:

FIGARO

FIGARO

IGARO

DEATH NOTE – THE MUSICAL IN CONCERT at the London Palladium

★★★★

“When the ensemble cast sing together the effect is mesmerising”

DEATH NOTE – THE MUSICAL IN CONCERT at the London Palladium

Reviewed on 21st August 2023

by Jonathan Evans

Photography by Mark Senior

More top rated shows reviewed this month:

Death Note

Death Note