Kin the Musical is a new British musical written by Emil Dale and Stefan Kelk. Inspired by true life events that took place in America in the 80’s, the story follows a small American town and their tension with a new Cult leader that has moved in.
The storyline that flows through the production is very strong and keeps its audience engaged. It was coherent from the moment the first song kicks in, all the way through to the very end. That feat is incredibly rare for a new show. Normally, shows this new with such complex storylines tend to struggle to find their feet. Not Kin the Musical though. There are some wonderfully moving moments throughout the production which, paired with the talent of the cast, deliver some truly heart-wrenching experiences, but just enough comedy to create an exciting viewing experience.
Kin the Musical has an incredibly strong songbook, made up of an original score with 80’s influence. It is a new sound compared to anything that has been created recently in the musical theatre world and is a delight to listen to. The opening number ‘Who are they?’ sets the tone of the show beautifully and has such an incredible sound to it when the whole cast are singing. I really enjoyed the comic-relief song in act 1, ‘Hoarder’. It is good fun but has a touching meaning when revisited in act 2 that ties the two acts together. ‘I Promise you’ is a standout song in a show of fabulous original music. The storytelling through this number is exquisite. It is a song that feels like all other composers would be jealous that they didn’t write it.
As for the cast, it is impossible to mention a weak link in this entire production. Everyone pulled together to make this show the absolute best that it can be. Joseph Peacock as Noah and Sophie-Rose Middleton as Cora were, to put it simply, exceptional. Their chemistry on stage was exciting to watch, and their vocals are out of this world! They created believable and real characters that an audience could invest in, which is crucial to any show. Emma Kingston did not disappoint as Marilyn, the cult leader. She played the character with such energy, with singing to match. Just when you thought she had reached the limit of what is vocally possible, it was as if Kingston managed to find another gear to change into and deliver even more. Adam Robert Lewis as Terrence, the towns mayor, also delivered a brilliant character. You could see the pain hidden deep inside that was driving every decision he made.
Honestly, there is only one negative that pulls this show away from perfection, and it is by no fault of anyone of the cast or creative team, but more a limitation of venues. I feel that Kin the musical would work far better in a traditional Proscenium theatre as opposed to be performed on a thrust, surrounded by audience on three sides. I was sitting on one of the sides and feel like to get a true representation of the show, a front on view would be essential. There were many times where views were blocked from the action by ensemble members and a traditional proscenium would get rid of that issue.
Kin the Musical is a sure-to-be smash hit show and I can see many awards in its future, along with a West End run soon (hopefully)!
Review: Joshua Thompson