Review: DEATH NOTE THE MUSICAL, London Palladium

In a high school in Tokyo, genius student Light Yagami is disassociating from the world that surrounds him, fed up with the justice system and bored out of his mind, when a black notebook mysteriously falls into his possession. The “Death Note” used to belong to Ryuk, a shinigami (according to Japanese traditions, a shinigami is a figure who accompanies humans to their death, the closest Western equivalent would be the grim reaper), and allows the owner to kill anyone as long as the writer knows both the target’s true name and their face.

Light figures out that he can use this power for good. As international criminals and the likes start dying suddenly and in groups, the police force asks an enigmatic detective, simply referred to as L, to consult on the case. As deadly cat-and-mouse chase between Land Light ensues. Written by Tsugumi Ohba and illustrated by Takeshi Obata, the manga is a complex story with a die-hard, uncompromising following that grew exponentially with Tetsurō Araki’s anime adaptation hit the screens in 2003.

The musical version, which had a positive reception in Asia, winning big at the Korea Musical Awards, is now ready for its European debut. A score by Frank Wildhorn with lyrics by Jack Murphy and a book by Ivan Menchell comes to life with a few odd but thoroughly superb casting choices. These two dates at the Palladium are, in essence, an exquisite, fancy showcase for both the music and the acting talent. It has an incredible line-up too.

Broadway veteran Adam Pascal is Ryuk and Aimie Atkinson is Rem, another shinigami. Joaquin Pedro Valdes plays Light while Dean John-Wilson is a stunning L and Frances Mayli McCann an adorable Misa Misa. They’re joined by an excellent ensemble who turn the score into the real star of the show. Wildhorn offers epic pop-rock that’s heavy on guitars but ventures smoothly into delicate strings, climaxing into a haunting final number with an almost liturgical vibe. It’s a thing of beauty. Due to its concert set-up, Menchell’s script unfortunately isn’t featured enough to be appraised, but, if it’s of the same quality as the rest of the writing, it’s safe to say that Death Note has all the elements of a well-rounded piece of theatre.

Nick Winston directs with verve, but his choreography tends to become formulaic and rather traditional. He delivers a show that flawlessly sits between camp and edgy. As the book is almost entirely left out and the songs alone are tasked with advancing the narrative, this is one for the fans and those who already know the story well. It’s regrettable that we don’t get to appreciate the reflection on ethics that’s featured in the original work, but it only makes us want to beg for the full thing. 

The attention to detail is truly impressive. From the shinigami costumes to the character research, the company give their best. Pascal is a growling, debonair Ryuk with a god-of-mischief aura to him. We can only imagine what he could do with the addition of non-sung parts. He is matched in flair by Atkinson, who offers a wary shinigami who’s generally unamused by humans, unlike Pascal’s. John-Wilson steals the scene, perching on chairs and nibbling away on snacks before he and Valdes enter a singing sparring contest with impeccable vocal portrayals. McCann tones down the “uwu” side of Misa Misa’s original personality, introducing a more refined, subtle Misa with explosive songs. A mention of honour goes to Christian Rey Marbella, who brings aplomb to the deontological challenges faced by Soichiro (Light’s father).

Designer Justin Williams divides the stage into three distinct sections, streamlining the plot and giving a sense of order even with the lack of script while Ben Cracknell’s lights add movement and excitement.

It’s definitely not your regular staged concert. While the musical (obviously) doesn’t explore all the nooks and crannies of the manga and this iteration doesn’t delve too much into its philosophy and morals, it covers all the main points and gives a morsel of what a complete production could achieve. It won't be for everybody, but it’s enough to whet our appetite and make us want more!

Death Note The Musical has two more sold-out performances at the London Palladium before transferring to the Lyric Theatre from 7 to 11 September.

Photo credit: Mark Senior

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