Review: Dark of the Moon (Charing Cross Theatre)

Review by Dan Ghigeanu

⭐️⭐️⭐️

There is something incredibly exciting about seeing a brand new dark musical arrive in London. It is not a genre we get nearly enough of, and honestly, I think that is because productions like this can be incredibly difficult to pull off. Add to that the vocal demands that come with rock musicals, and it suddenly becomes clear why so few theatres attempt them. So when Dark of the Moon was announced for a run at Charing Cross Theatre, my expectations were immediately high. But would this new musical leave me completely under its spell, or would it deliver complete heartbreak?

Loosely based on the Scottish folk ballad ‘Barbara Allen’ and the 1945 play of the same name, Dark of the Moon tells the story of Barbara Allen and John the Witch Boy, two people trapped between worlds and expectations. Barbara longs for more than the ordinary small-town life she has always known, while John has spent his entire existence among witches, forever separated from humanity by the divide between the supernatural and the human world. It is a premise filled with potential and one that promises an interesting story and great music.

From the very beginning, there is a haunting quality to the production that immediately draws you in. The score by Lindy Robbins, Dave Bassett and Steve Robson is undoubtedly the standout element of the evening and honestly, what a score this is. Blending folk influences with rich rock instrumentation, the music carries an emotional intensity that elevates the material far beyond what is happening in the script itself. Several songs throughout genuinely stop the show in its tracks and remind you exactly why this style of musical can be so thrilling when done right.

Unfortunately, Jonathan Prince’s book does not quite reach the same heights. While the central story between Barbara and John remains engaging enough throughout, the writing itself feels underdeveloped in places. There are simply too many characters introduced without enough depth or development given to them. The biggest issue, however, comes from the storytelling itself. Certain plot threads feel as though they are building towards something significant, only for them to never actually pay off. One particular character is repeatedly mentioned throughout the show and built up to some form of reveal or explanation, yet it never arrives, leaving questions unanswered in a way that feels frustrating rather than mysterious. It is a shame because the world itself is intriguing enough that with a tighter and more focused book, this could have been something truly special.

That being said, Georgie Rankcom’s direction works incredibly hard to elevate the material and succeeds more often than not. Directing a dark supernatural musical is no easy task, especially when the book itself has structural issues, but Rankcom ensures the production never loses its sense of atmosphere or momentum. Every movement on stage feels intentional, and every scene feels carefully considered. Even in moments where the writing falters, the direction continues to hold your attention. There is also a real confidence to the staging throughout. Rankcom understands exactly when to allow the quieter moments to breathe and when to fully embrace the more supernatural elements of the piece. The transitions between scenes are slick and fluid, and there is a strong sense of style running through the entire production. You can feel her influence in every moment, and that consistency helps the show enormously.

Vocally, this cast absolutely rises to the challenge of such a demanding score. Rock musicals are notoriously difficult because they require performers capable of delivering huge vocals while still maintaining emotional truth within their performances. Thankfully, Dark of the Moon has assembled a cast more than capable of handling both. Though the cast all impress, there are three performances in particular that truly stand out.

Josie Benson is simply sensational as Conjur Woman. Every single time she steps onto the stage, the entire energy of the production shifts. She has a commanding presence that makes it impossible to look anywhere else, and vocally, she is absolutely extraordinary. Her voice is rich, powerful and filled with emotion, ensuring every musical number she performs becomes an undeniable highlight of the evening. Even when the material surrounding her struggles, Benson remains utterly captivating from start to finish.

Glenn Adamson is another major highlight as John the Witch Boy. In a role demanding vulnerability, emotional intensity and the vocal ability of a full-blown certified rock star, Adamson effortlessly delivers on all fronts. His voice perfectly suits this score, bringing grit and passion to the story. In his performance of one of the show’s biggest standout musical numbers, ‘Certified Rockstar’, Adamson displays a striking stage presence and some genuinely jaw-dropping vocals.

The performance that blew me away most, however, came from Lauren Jones as Barbara Allen. Jones is absolutely breathtaking throughout the entire production, bringing both vulnerability and fire to the role. It would have been very easy for Barbara to become overshadowed by the darker supernatural elements surrounding her, yet Jones ensures she remains the emotional heart of the piece. Her vocals are stunning and filled with warmth and sincerity, particularly during early musical number and the undoubted standout ‘Wildflower’, proving completely spellbinding. It is one of those moments where everything comes together perfectly, and for a few minutes, the show completely casts its spell.

Other cast members who make their presence felt effectively are Al Knott, Appolily Szwarc and Jordan Broatch as a trio of witches, with Gary Turner a formidable presence as Conjur Man. Martin Callaghan gets some comedic moments and a surprising amount of heart as Preacher, proving a catalyst to pushing the story along. In a relatively small space like Charing Cross Theatre, there is a danger of there being too many characters present, never letting the talented cast all have their own moments to shine. I got the sense that the impact of Dark Of The Moon may have been stronger, had the story been simplified slightly and some of the more one-dimensional characters been minimised or lost entirely.

Visually, the production also works incredibly well. Libby Todd’s set and costume design embraces simplicity in a way that feels effective rather than underwhelming. The contrast between the ordinary townsfolk and the witches is particularly striking. While the villagers wear grounded rural clothing that immediately establishes their world, the witches appear in white and black skin-like costumes covered in markings, giving them an eerie and unsettling appearance. The visual distinction between the two groups works beautifully and helps reinforce the themes of division running throughout the story.

There are moments where I did wish the production leaned even further into its darker and stranger elements. The atmosphere and score are so strong that at times the show feels as though it is holding itself back from becoming something even more immersive. But even with its flaws, there is still something undeniably compelling about Dark of the Moon.

This may not be a perfect musical, but it is certainly an interesting one. Yes, the book needs tightening, and some narrative threads feel frustratingly unresolved, but the stunning score, strong direction and exceptional central performances ensure the show remains captivating enough. Most importantly, Dark of the Moon feels refreshing. In a theatre landscape increasingly dominated by safe commercial choices, there is something genuinely exciting about seeing a production willing to embrace darkness, folklore and rock music with such ambition. It may not completely cast the spell it hopes to, but it still makes for a very good night at the theatre.

Dark of the Moon plays at Charing Cross Theatre until 8th August. Get tickets from £20.50 at https://allthatdazzles.londontheatredirect.com/musical/dark-of-the-moon-tickets

On Friday 5th June, All That Dazzles’ Daz Gale hosts a special post-show Q&A with cast members Glenn Adamson and Lauren Jones with director Georgie Rankcom.

Photos by Tom Bowles