History and drama collide in Stiletto, the new musical currently taking centre stage at the intimate Charing Cross Theatre. With music and lyrics by three-time Grammy nominee, Oscar and Golden Globe nominee Matthew Wilder, and a book by double Olivier Award nominee Tim Luscombe, the production explores the fascinating yet grim reality of 18th-century Italy, where thousands of boys were castrated in pursuit of operatic stardom. Directed by David Gilmore, Stiletto promises a gripping tale of ambition, identity, and love. Yet, despite its intriguing premise, the show stumbles in execution.
The story follows Marco Borroni (Jack Chambers), a young man who has endured the brutal fate of castration to preserve his ethereal voice. His dream is to land the coveted role of Amelia in the opera, but along the way, he encounters Gioia (Jewelle Hutchinson), the daughter of an African slave, whose extraordinary talent is overshadowed by societal prejudice. As their relationship blossoms, what follows is a journey of artistic ambition, tragedy, and the sacrifices one makes for success.
Where the production excels is in its musicality. Under the musical director Jae Alexander, the 12-piece orchestra elevates the score, which is both intricate and emotionally stirring. Chambers' rendition of “What Makes a Man” is a standout moment, filled with nuance and longing, while Hutchinson’s performance of “Non Piu/God Given Gift” is breathtaking. The ensemble, too, deserves praise for their tight harmonies and ability to inject energy into the production. However, the Charing Cross Theatre's acoustics are not always kind to the ambitious orchestration, sometimes muffling the more delicate moments.
Visually, Stiletto is stunning. Ben Ormerod's atmospheric lighting design, combined with Ceci Calf’s evocative set and Anna Kelsey’s period costumes, brings the grandeur and grime of 18th-century Venice to life. The creative team makes excellent use of the theatre’s limited space, drawing the audience into the story.
However, where Stiletto struggles most is in its storytelling. The book pulls in too many directions, attempting to juggle multiple subplots that ultimately dilute the main narrative. Marco’s friend, Luigi (Sam Barrett), struggles to find his voice, but his arc feels underdeveloped. A questionable romantic entanglement between Marco and Faustino Conti (Greg Barnett) lacks clarity, while the strained marriage between Contessa Azzurra D’Orozco (Kelly Hampson) and the corrupt Pietro D’Orozco (Douglas Hansell) adds another layer of confusion with little context.
Tonally, the show seems unsure of itself, oscillating between melodrama and moments that verge on comedy. The characterisations often fall into tropes, with some roles serving little purpose beyond plot mechanics. Given the talent of the cast, this feels like a missed opportunity - their performances hint at greater potential that the material does not allow them to realise; resulting in abrupt and underdeveloped moments.
Ultimately, Stiletto is a promising musical with an intriguing premise, shedding light on a fascinating yet little-known slice of history. While there is much to admire, it leaves one wondering what the production truly wants its audience to take away. As it stands, it’s an ambitious but flawed work that doesn’t quite hit the high notes it aims for.
Stiletto plays at the Charing Cross Theatre until 14 June. For more information and tickets, follow the link here.
Review: Caleb Lee Photo: Johan Persson