Review: DEATH NOTE, Barbican Theatre
Frank Wildhorn's adaptation of the smash-hit manga makes its fully-staged English premiere
It’s understandable why Frank Wildhorn would choose to bring Tsugumi Ohba and Takeshi Obata’s wildly popular manga Death Note to the stage as it features several conventions of his previous works: The questions of human nature in Jekyll & Hyde, vigilantism in rebellion of corruption in Bonnie and Clyde, and social conformity versus personal liberation in Rudolf: The Last Kiss.
Starting its onstage life in 2014 as a demo album, Death Note has spawned successful global productions as well as sold-out concerts at the Lyric Theatre in 2023. With this and the influx of stage adaptations of anime franchises arriving in London from My Neighbour Totoro to Your Lie In April, perhaps Death Note’s fully staged English language premiere at the Barbican came at the perfect time.
‘Where is the justice?’ teen genius Light Yagami asks in the opening as he laments corruption in the world. His answer is soon found in the titular notebook given by bored Shinigami (a Japanese death spirit) Ryuk, granting him the power to kill any name he writes in it so long as he can picture them. Becoming a vigilante known to his fans as Kira, the growing death toll soon turns into a cat and mouse chase with the Tokyo police led by detective L.
If there’s one word to describe this Death Note, it’s ambitious. Stephen Whitson’s direction treats the Faustian and often ludicrous material with Shakespearean levels of drama and camp that only a stage as large as the Barbican’s could fill. However, it occasionally feels ambitious to a fault. Ivan Menchell’s book carries fascinating ideas surrounding the moral ambiguity of vigilantism and mortality, but adapting a 12-volume manga into a two-and-a-half hour show leaves them feeling underexplored.
Act one in particular suffers, cramming various subplots in a near episodic nature while barely given room to breathe - for example Shinigami Gelus’ love for pop star Misa leading her to sacrifice herself - before we move onto the next plot development. Act two improves as Light and L’s rivalry adds steam, although the exposition heavy dialogue which fills the blanks for newcomers can result in more telling than showing.
Wildhorn’s pop-rock music and Jack Murphy’s lyrics carry an air of self-awareness to the ridiculousness, but there’s no denying they’re electrifying, symphonic and catchy (even if there’s one power ballad too many). Equally electrifying is Jon Bausor and Akhila Krishnan’s spellbinding set and video design unlike anything I've seen. It has a near operatic quality befitting of the Barbican’s grandeur with revolves, sliding sets and a rising platform the shinigami stand on watching the human world below. Jen Schriever’s neon laser lighting fills the auditorium as multi-award winner Fabian Aloise’s bombastic choreography dominates the stage, especially in concert sequences. It’s a real feast for the senses.
Xander Pang captures Light’s descent from well-meaning student to arrogant megalomaniac while showing off his soaring vocals in numbers like Hurricane. Colin Ryan creates the ideal foil as eccentric analytical L in a finely detailed performance that makes us question the real antagonist. West End darling Grace Mouat continues to show off her range as the aloof yet maternal Shinigami Rem and lovely vocals in When Love Comes, while Broadway favourite Telly Leung is clearly having the time of his life as the mischievous Ryuk chewing the scenery between munching on apples. Stephanie Zaharis meanwhile makes a strong UK debut as Misa Amane, every bit the pop powerhouse with Borrowed Time receiving enthusiastic applause.
Putting aside the plot's occasional disjointedness, there is much to enjoy in Death Note. Diehard fans will love seeing the world brought to life with its stunning visuals and all-around formidable cast, while newcomers will quickly give themselves over to the thrilling melodrama. If there’s one thing Death Note won’t do this summer, it’s leave you dying of boredom.
Death Note runs at the Barbican until 12 September
Photo credit: Manuel Harlan
|
Powered by
|
Reader Reviews
To post a comment, you must register and login.