Based on the original manga series, Death Note: The Musical follows Light (Xander Pang) who comes across Shinigami Ryuk’s (Telly Leung) Death Note. Light is given the power to kill anyone he can picture and whose name he writes in the Death Note. He becomes adored by superstar Misa (Stephanie Zaharis) and the public who call him Kira for killing mass murderers; however, his father (Paolo Montalban) recruits the greatest detective, L (Colin Ryan), to try and discover his true identity and put an end to the killing.
The opening of the show is sensational as we’re plunged into perfect darkness. The tension is breathtaking, thanks to the score by Frank Wildhorn (Jekyll & Hyde), and you’re snapped into the thriller.
Pang’s vocals in the opening number ‘Where Is The Justice?’ demonstrate his ability to pour his emotions into his vocals and show Light’s frustration with his ethics class - He is driven by doing what he believes is the right thing - ending what is wrong in the world. A strong belt at the end of the number sets the tone for this show. This musical is written for powerful vocals, and what’s even better is that every character gets their moment to deliver a killer note.
The top half of the stage descends and we’re introduced to three Shinigami who exist to determine who dies. These mythical beings have a set of codes that help to structure the plot of the show. We’re introduced to Rem (Grace Mouat) who plays an increasingly significant role as the story continues. Mouat is a fantastic casting, who has West End credentials in Mean Girls (Original West End Cast), The Great British Bake Off: The Musical (Noël Coward Theatre), and I had the pleasure to see her as the Alternate Juliet in & Juliet (Shaftesbury Theatre). She has the most wonderful vibrato in her Act One duet of Mortals & Fools.
The staging truly is dynamic, with a rotating floor, seamless set movement, and a linear design that transforms perspectives. Costumes stick mainly to black, white, and grey to keep with the message of black and white thinking.
If you’re going to sit anywhere in the Barbican to see Death Note The Musical, book right in the centre of the auditorium because the show is staged with central framing. The character the director wants us to focus on is always placed at the core of our attention. It pays off as the stage splits only to demonstrate opposing opinions. With all characters getting this similar staging, it leaves it to the audience to determine who is right and who is wrong in this psychological musical.
The plot is so well explained within the first three songs that you are tricked into a false sense of understanding. When Act One ends with a twist, you’ll be left desperate for the interval to end and find out what will happen next. Act Two flows naturally from this point and satisfies the audience.
Zaharis as Misa gets an ever-increasing role as the story progresses, with a nice selection of upbeat numbers and ballads, but it is her final number Borrowed Time that really demonstrates that this is a show of two halves. The male characters are playing a game of wits and deception, whilst our female characters explore love and compassion. The character of Misa becomes a great addition to the narrative and helps to disrupt what would otherwise be a linear plot.
The lighting design is incredibly strong, whether that’s a dramatic power outage, a square shaped spotlight, or the stage fully transforming into a pop concert, it’s astounding what they’ve done here.
Colin Ryan as L is a very physical actor, and his experience in Shakespeare plays is probably what gives him such a strong stage presence. His eyes are piercing when wide open in his own impressive ballads.
Death Note: The Musical achieves what all good musicals need: a strong range of songs that carry the story forward (with well-written lyrics), staging that surprises the audience and transforms scenes effortlessly, and talent that brings presence and enthusiasm to their roles.
The team behind the show have done an impressive job of taking it from its origins in Tokyo and making it feel fresh and relevant to an English-language audience.
Death Note: The Musical comes to life in London with its dark and daring story, proving that moral dilemmas continue to make great theatre.
It runs until 12 September. Tickets: here.
Review: James Dix Photo: Manuel Harlan