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.

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:

Improv Death Match | ★★★★ | Aces and Eights | August 2023

Theatresports | ★★★★ | Museum of Comedy | August 2023

Alone Together | ★★★★ | Theatre Royal Windsor | August 2023

Not Like Other Girls | ★★★★ | The Queer Comedy Club | August 2023

Express G&S | ★★★★ | Wilton’s Music Hall | August 2023

La Cage Aux Folles | ★★★★★ | Regent’s Park Open Air Theatre | August 2023

Sarah Roberts : Do You Know Who I Am? | ★★★★ | The Bill Murray | August 2023

String V Spitta | ★★★★ | Soho Theatre | August 2023

Improv The Dead | ★★★★ | Hen & Chickens Theatre | August 2023

Flamenco: Origenes | ★★★★ | Etcetera Theatre | August 2023

Ashley Barnhill: Texas Titanium | ★★★★ | Museum of Comedy | August 2023

The Lord Of The Rings | ★★★★★ | Watermill Theatre Newbury | August 2023

Death Note

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★★★★★

“Stephen Mear’s choreography dazzles and blinds you”

We live in an age where the word ‘gender’ can spark hot debate and a furious character count on people’s twitter (sorry – ‘x’) feed. Indeed, gender discourse has changed greatly since “La Cage Aux Folles” opened on Broadway four decades ago, at the time breaking many barriers by becoming the first Broadway musical centred on a same sex relationship. So much so that Tim Sheader’s current staging lays itself open to accusations of being dated. And yet, the production rebuffs all of that and rises way above it. There is no question of discussion, or of dissecting its relevance and resonance today. It is simply a celebration. One that is bursting with pure joy and spectacle – full of hope and other sentiments that belong to the human heart irrespective of the rhythm it beats to.

From the overture to the finale, we are drawn into the world of these larger-than-life characters. We are told from the off, by the deliciously diverse and garish troupe of ‘Cagelles’, that “what we are is an illusion”. Illusion or not, they are magical. As is every other aspect of this authentic, feel-good show that, deep down, honours old fashioned and revered values of loyalty, family, solidarity and acceptance. It is only in retrospect that this analysis becomes clear – at the time we are just swept along by the warm tide of music and dance.

Set in 1970s St Tropez, it is more ‘Prom, Prom, Prom!’ than French Riviera. Colin Richmond’s eye-catching set captures a fading grandeur that stands proud against the evening backdrop but when you get up close you see the peeling walls and mildew, reflecting the by-gone era and authenticity that refuses to be glossed over. Pan out again and Stephen Mear’s choreography dazzles and blinds you. The ensemble is ever present, watching from the wings; smoking, laughing, winking or yawning. But when they emerge and take centre stage their dance moves are fearless, faultless and simply stunning.

“The laughter and the pathos are continually battling to steal the limelight, but they end up in a glorious double act”

Jerry Herman’s score is at once recognisable and stylishly fresh. The intellect isn’t overburdened, but the passion and romance are loud and clear. As the first act closes, we almost feel like we have reached the grand finale as Albin (Carl Mullaney) delivers a searing, defiant and heartfelt “I Am What I Am”. Rejection has never been portrayed with such authenticity.

Albin’s partner Georges (Billy Carter) hosts the ‘Cage Aux Folles’ nightclub where Albin headlines as his alter ego ‘Zaza’. Along with George’s son Jean-Michel (Ben Culleton) from a brief dalliance with the now absent biological mother, they form the most unconventional conventional family unit imaginable; supplemented by in-house maid/butler Jacob (a show-stealing, mesmerising, gender-fluid Shakeel Kimotho). Loyalties are stretched to breaking point when Jean-Michel announces his engagement to Anne Dindon (Sophie Pourret). Her father is head of the ‘Tradition, Family and Morality Party’, whose goal is to shut down the local drag clubs, of which George’s is the flagship. Albin is persuaded to absent himself for the upcoming visit of Anne’s parents, the consequences of which inform the hilarious and farcical second act.

The laughter and the pathos are continually battling to steal the limelight, but they end up in a glorious double act. The chorus line moves as one, yet each member’s individuality shines through. Although the plotline is a touch on the thin side, it is fleshed out by Harvey Fierstein’s witty script and, of course, Herman’s music and lyrics. But what really brings the house down is the talent on display, the presentation, and the sheer flamboyance of the performances – all of whom deserve mention. There is no roof at the open-air theatre, but by curtain call there wouldn’t have been anyway: the standing ovation raises it way out of sight.

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