JACK
Courtyard Theatre
★★
“The cast tackles the material with gusto”
Nearly 140 years on, Jack the Ripper remains notorious, the horrific spree of unsolved murders stirring speculation to this day. ‘Jack: A New Musical’ aspires to honour the silenced victims by sharing their perspectives, though the execution currently falls short of ambition.
Jack the Ripper’s gruesome murders get a script flip in this female centred retelling. Focusing on the women who were murdered, especially the Ripper’s final victim Mary Jane Kelly, a new perspective – and possible killer – emerges.
Before I go any further, it’s important to flag significant sound issues make it difficult to appraise this show in detail (see below). I strongly recommend this is addressed before future performances.
With a book by Sahar Malaika, ‘Jack: A New Musical’ certainly isn’t lacking ambition, offering a refreshingly modern and female perspective on one of the UK’s most infamous serial killers. That said, the plot departs completely from the commonly held version of events, blurring the line significantly between victim and perpetrator. Ordinarily, I love a complex female lead and unpredictable ending; however, Mary Ann Nichols, Annie Chapman, Elizabeth Stride, Catherine Eddowes and Mary Jane Kelly are real people, some with living relatives, making me wonder whether a touch more realism would sit better. A shortage of character and plot development – some of it lost in the sound balance – leaves me less invested. The final montage of contemporary murder cases sits uncomfortably with the Ripper’s justifications, feeling like two very different messages.
Sam Phillips’ music, lyrics and musical direction is significantly hampered by an overpowering backing track and underpowered cast microphones, leaving the score lacking nuance and most of the lyrics. It’s a shame as the electro-gothic sound has promise, even if the heavy use of synth occasionally nudges into an 80s feel. Energetic ensemble numbers are balanced by intimate solos, with inventive reprises well placed to add meaning. That said, we never fully enter our protagonist’s world and some of the songs feel a little superfluous.
Rosie Sutton and Sasha Ranawake’s co-direction lands unevenly, with fully choreographed sections sitting alongside static scenes. The final murder sequence feels both busy and overly stylised, with the victim miles from the murderer thanks to the placement of the full ensemble, undermining what should be the climactic scene. The pacing needs refining, with gabbling and overlapping deliveries muting the emotional weight of key moments. Overall, the production could do with more polish.
The sound is a significant weakness, with an overbearing backing track, uneven vocal levels and limited cast projection leading to a lot of lost plot. The balance improves slightly during spoken scenes, but whole chunks of lyrics disappear into the mix.
There are flashes of drama in Hannah Wei’s lighting design, though pockets of shadow undermine this.
Ted Fussel’s set design is simple yet evocative, using varied levels and red string to suggest a crime scene investigation, while projections of real images and quotes add a documentary edge.
Elodie Yip’s costume design is polished, featuring striking corsetry for the female characters and well crafted ensembles for the male characters.
The cast tackles the material with gusto, though stronger projection and cleaner delivery would elevate the work considerably. Cameron Maiklem as Aloysius Howell and Stanley Tannahill as the Chief Inspector stand out as the most well-rounded performers, offering an assured balance of acting, vocals and movement. Nicole Palka’s Mary Jane Kelly has a commanding vocal presence, though spoken sections feel comparatively restrained.
‘Jack: A New Musical’ is a bold take on the notorious murders, which currently promises more than it delivers. With some urgent technical attention, however, this run could yet land with the impact it’s reaching for.
JACK
Courtyard Theatre
Reviewed on 5th January 2026
by Hannah Bothelton
Photography by Freddie Houlahan
