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Review: A Mirrored Monet (Charing Cross Theatre)

Review by Ruth Sealey


⭐️⭐️


The story of Impressionist painter Claude Monet holds rich potential to transport an audience to 20th-century Paris, weaving together themes of love, friendship, an illegitimate child, the pursuit of greatness, and profound grief. Beneath the muffled clatter of trains overhead at the Charing Cross Theatre, echoing like the muted rumble of First World War gunfire, this production asks the question: can a musical about a painter in search of inspiration truly inspire its audience?



Set in Paris in 1916, A Mirrored Monet is a musical that explores a period in Claude Monet’s life when he struggled to find the inspiration needed to complete his celebrated ‘Water Lilies’. As the First World War rages across Europe, its shadow looms heavily over Monet’s world. While he grapples with his artistic block, the narrative travels back through time, revisiting his relationships with fellow artists and his complicated relationship with his first wife, Camille. First seen at Greenside’s Emerald Theatre during the Edinburgh Fringe Festival in 2023, A Mirrored Monet draws on the diaries and letters of Monet and his contemporaries. However, despite its rich source material and evocative premise, the production ultimately struggles to inspire, with moments that unfortunately fall flat.


The book, music, and lyrics by Carmel Owen tell Monet’s story from his perspective, but it’s often unclear whether the audience is meant to feel sympathy or frustration for him, a tension that remains unresolved throughout the production. The songs prove to be a weaker element, frequently repetitive and leaving little lasting impression, which in turn leaves the cast performing material that feels overly twee and offers limited narrative depth. Many numbers simply narrate what is happening on stage rather than advancing the story or exploring character emotions, with lines like Camille’s, “I like modelling, and they make it fun,” leaning too heavily on telling rather than showing. The result is a musical that rarely surprises or engages on an emotional level. That said, Camille’s There Are No Stars is a standout and is a number that hints at the cast’s real potential when given material that challenges and showcases their talent. 



Directed by Christian Durham, the show opens with the house lights gently raised alongside a direct address from a confused Monet, questioning who we are and why we are there. It’s an intriguing and initially engaging choice, positioning Monet as the narrator of his own story. However, this technique is revisited frequently throughout the production and, rather than drawing the audience further in, it often pulls us out of the world of 1916 and firmly back into 2026.  While audience engagement can be effective, its repeated use here feels clunky and unnecessary. Theatre offers an opportunity for escapism, and although inviting the audience in at the outset can be compelling, there is also value in then allowing us to settle back and watch the story unfold without interruption.


Jeff Shankley brings a steady presence to Monet, capturing the painter’s frustration as he reflects on the past yet remains powerless to change it. While the occasional direct addresses to the audience feel a little awkward, Shankley convincingly navigates the contrast between the confused, elderly Monet and the moments of anger directed at his younger self.  Dean John-Wilson, portraying the younger Monet, leaves no doubt about his vocal talent, though the material rarely gives him the depth to fully shine. Despite this, there are genuinely tender moments between the older and younger Monet, offering glimpses of emotional resonance amidst a show that struggles elsewhere to consistently engage.



However, the true standout of the production is Brooke Bazarian, making her professional debut and already proving herself a talent to watch. The show’s most compelling moments occur whenever she is on stage, particularly in the second act alongside Dean John-Wilson. Her vocal performance and nuanced portrayal of Camille are consistently impressive, bringing real depth to a character who might otherwise feel secondary. With such a compelling story at its heart, a more engaging version might be told from Camille’s point of view, where she deserves a stronger, louder voice in this narrative.


The ensemble works hard with the material they have, and light-hearted moments come from Sam Peggs as Renoir, allowing Monet to reveal a softer side.  Powerhouse vocals are delivered by Aaron Pryce-Lewis as Manet/Durand-Ruel. Meanwhile, Ritesh Manugula as Bazille completes the group of friends, though his character is abruptly written out around the interval after a brief, unresolved mention of blackmail and a possible connection to a gay prostitute, which felt at odds with the production and surely worthy of more explanation.



Matt Powell’s video design seamlessly projects Monet’s paintings and a variety of evocative backdrops onto the stage. Its impact is most felt in the first act, during the forest scene where Monet and his friends take shelter from the rain, and in the second act, as Monet unveils his paintings of Camille. The projections work harmoniously with Libby Todd’s set design and beautiful easels, enhancing the visual storytelling and adding depth to the world of the production.


A Mirrored Monet clearly has rich source material and an intriguing story at its heart. Yet the production misses an opportunity to explore Monet’s world from an alternative viewpoint (perhaps Camille’s), which might have offered deeper insight into his motivations, a question that remains unresolved throughout. Do the audience feel sympathy for Monet? Rarely. Did this story need to be a musical? Arguably not. But is it a story worth telling? Absolutely. With stronger material and a sharper perspective, this tale of art, love, and loss could find the inspiration it needed.


A Mirrored Monet plays at Charing Cross Theatre until 9th May.


Photos by Pamela Raith

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