Dark Of The Moon Review: an ill-fated love story between girl and witch-boy
- Emma Knott
- 3 days ago
- 3 min read
26 May 2026 I 19:30 I Charing Cross Theatre, London
⭐⭐⭐ I PR - Invite
On a very hot evening at London's Charing Cross Theatre (which is thankfully air-conditioned!), it was time to see Dark Of The Moon, a musical I had been eagerly anticipating. With the promise of witches, small-town drama, country-rock music and the glorious Glenn Adamson, it sounds like a checklist for the perfect musical.
I had presumed this was an entirely new work, however the story has actually been evolving in various forms since c.1939. Rooted in centuries-old English and Scottish legend, and inspired by the traditional folk song 'The Ballad Of Barbara Allen', the musical draws on rich cultural history. This adaptation is directed by Georgie Rankcom, with a book by Jonathan Prince, and music/lyrics by Lindy Robbins, Dave Bassett & Steve Robson.
The show aptly opens with 'The Ballad Of Barbara Allen', beautifully performed by "the singer" (Kiah Lindsay). It is a pivotal and full-circle moment, particularly when echoed again at the end of the production. From this beginning, we are introduced to the sleepy southern American town of Buck Creek, where number Ordinary Life shifts the energy with lively country music and spirited line dancing, supported by Jane McMurtrie's excellent choreography. It paints a portrait of a simple, content community, where anything supernatural is dismissed...
This peaceful illusion is immediately challenged through Under Our Spell, led by the witches who linger in the shadows of the stage. The contrast between this trio of opening numbers cleverly establishes the divide between worlds: the naivety of the townspeople, and the unseen witchfolk that orchestrate the darkness.
Jonathan Chan's lighting design becomes a crucial storytelling device, helping to distinguish the conventionally 'good' and 'bad' sides to Buck Creek, characterising the upstanding townspeople with warm tones, and the witches with more ominous ones. The same can be said for Libby Todd's costume design, and Craig Forrest-Thomas' wigs, hair & make up. Everything is laid out in a language that all audiences can understand, including the supernatural visuals that we may recognise from popular media.
There is an immediate sense that something is set to drastically change for both communities. We are introduced to Barbara Allen, portrayed by the spectacular Lauren Jones (who made a suitably gothic Wednesday Addams in the UK tour of The Addams Family). She is the misfit and outsider within her ordinary community, constantly feeling that she doesn't truly belong.
Barbara is drawn to her lover John, or 'Witch-Boy' as he is repeatedly called, played by the ever-amazing Glenn Adamson (perfection as the rebellious Strat in Bat Out Of Hell). He too feels disconnected from his world, longing to be part of the human one. The entire ensemble are strong throughout, displaying great energy and commitment to every scene, from explosive musical numbers to intense dramatic scenes, all with harmonies that leave you hypnotised!
Without delving too deeply into the narrative, Prince's book bares semblance to Shakespeare's Romeo and Juliet, where the forbidden youngsters must overcome their fundamentally opposed families. The show is packed with twists and turns that snowball towards a dramatic finale, touching on some darker themes.
There is a great deal to enjoy across Dark Of The Moon, though it slightly outstays its welcome and begins to drag in the centre. The ending of the first act ends rather abruptly and, while this may have been for effect, it doesn't entirely land. The pacing is somewhat uneven, and although I understand the intention behind shifting between jovial humour and sinister material, the transitions are a little incohesive. However, musicalizing Howard D Richardson and William Berney's 1945 stage play is this production's highlight. Adamson delivers a stand-out performance in Certified Rockstar, allowing him to embrace his rock-ballad roots and raise the roof of the auditorium.
Blending folklore, country-rock and supernatural tensions, Dark Of The Moon is an ambitious and atmospheric premiere that is both musically and visually distinctive. While inconsistencies in the written material, including some slightly cringe-worthy lyrical work, fail to land an impact, the show is elevated by striking design elements, dazzling cast and for the most part, memorable score.
Glenn Adamson and Lauren Jones make for a compelling central pair, capturing the outsider status and longing that sits at the heart of the story. It may not be our stagey highlight of the year, however I expect that Dark Of The Moon will find its audience with its rocky, supernatural edge. When it comes to Off-West End theatre, taking a risk on a new musical may discover a unique theatrical experience that you can't find in the mainstream.
Booking until 8th August: https://charingcrosstheatre.co.uk/theatre/dark-of-the-moon
