Review: Dark Of The Moon, Charing Cross Theatre

On the hottest day of the year so far, the Charing Cross Theatre’s air conditioning deserved a round of applause even before the performance started.

This new musical, Dark of the Moon, is based on a 1940s play, itself loosely based on the traditional folk ballad Barbara Allen. There is an interesting note in the programme: turns out in 1943 the original play was in the running to be a new production by the NY Theatre Guild, only to lose out to Oklahoma!, and the comparison kept popping into my head throughout the evening. There are similarities in that both plays seem to have been shaped by the lingering impact of the Dust Bowl migration on rural communities.  

The plot is a familiar one: in a remote mountain town, we find a young woman, Barbara Allen (Lauren Jones), whose refusal to conform places her at odds with the community, and she is being pressured into a marriage she does not want. The arrival of an outsider, John (Glenn Adamson), introduces both the love interest and a catalyst for tension and conflict within the community. The play’s twist is then that John is a witch, part of a coven that has been there all along, hidden in plain sight.

The musical numbers by Lindy Robbins, Dave Bassett & Steve Robson, open with a ballad that nods to the traditional Barbara Allen before moving to a lively bluegrass toe-tapping hoedown performed by the townsfolk. This is a good way of introducing the ensemble and establishing the small town world, complete with familiar archetypes: the busybody gossip, the village fool, the sensible preacher. It is the kind of place where everyone knows everybody else’s business. When the witches emerge, the complete switch of style to raucous hard rock is particularly effective in emphasising the theme of ‘difference’. ‘Wildflower’ gives Jones and Adamson a chance to showcase their singing prowess and chemistry, whilst revealing the personalities of their characters. Another crowd pleaser, the exuberant ‘Certified Rockstar’, is followed in a striking contrast with the poignant ‘The Longest Night’, performed beautifully by Sue Appleby. Flashes of humour throughout sometimes feel to have been added as an afterthought and do not really flow.

The divide between witches and townsfolk is heightened further through costume and movement. Jane McMurtrie’s choreography gives the witches an otherworldly style, with them appearing from behind buildings and rooftops in near-constant writhing movements, enhanced by flowing grey fabrics. This contrasts neatly with the solid, no-nonsense line-dancing townspeople with their sensible boots, denim and check shirts. Libby Todd’s set design adds a sense of small-town claustrophobia while still managing to provide all of the different locations required. The transitions are subtle but work really well, and were accomplished so smoothly that they were hardly noticeable. 

Ultimately, this is an old story that has been covered many times, but it is given fresh life by the design and a well-performed, enjoyable score. Performances across the cast are consistently strong, anchoring the production even when the material seems overly familiar. It makes for an enjoyable and engaging evening, if not a ground-breaking one, feeling particularly well-suited to smaller theatre spaces. 

Director: Georgie Rankcom
Producers:  WitzEnd Productions & Steven M Levy
Music and Lyrics:  Lindy Robbins, Dave Bassett & Steve Robson
Book: Jonathan Prince
Choreographer: Jane McMurtrie 
Music Director: Matt Herbert
Production Designer: Libby Todd
Lighting Designer: Jonathan Chan
Wigs, Hair & Make Up Designer: Craig Forrest-Thomas

Dark Of The Moon plays at the Charing Cross Theatre until Saturday 8 August.