A Mirrored Monet at Charing Cross Theatre Review
Dean John-Wilson in A Mirrored Monet. Photo: Pamela Raith Photography
Written by Penny for Theatre and Tonic.
Disclaimer: Tickets were gifted in return for an honest review. All views are my own
A Mirrored Monet premiered at the Edinburgh Fringe in 2022 and now arrives in London. It’s clear from the programme notes that this has been a passion project for many years for its writer, composer and lyricist, Carmel Owen. Inspired by Monet’s work on display in the National Gallery in Washington DC, this new musical is based on letters, articles and diaries written by Monet and his contemporary artists. Initially set in war-torn Paris in 1916, it sees Claude Monet struggling with a creative block as he tries to finish the work that will define his legacy, The Water Lilies, and looking back to his younger days in the late 19th Century for inspiration.
As the lights dim, we are in Monet’s studio, Libby Todd’s design is all muted colours, a bit drab, a bit stuffy – a far cry from the vibrant palette of colour that mention of his work immediately brings to mind. It very effectively sets the scene and the tone for our central character’s growing frustration at his inability to paint. As we step into his memories, excellent use of video projection (Matt Powell) and lighting (Jodie Underwood) transports us to the Beaux-Arts Salon in Paris, a foggy London and the stunning Giverny countryside that we associate with Monet’s work. This has a beautifully immersive effect, with underscoring from a small eight-piece orchestra, under the direction of Michael Webborn, that serves to draw us into the story, most effective when accompanying the art that is the star of the show. At times the sound from the band slightly overwhelms the singers, most noticeable at the beginning of the performance.
Director Christian Durham has made very good of the space, using a revolve and a door at the centre of the stage to move us back and forth in time and location. Movement from Assistant Director Heather Douglas is simple but feels natural and appropriate.
The show has a strong start, with an older Claude Monet breaking the fourth wall to tell the audience of his frustration with the war, his failing health and his creative block. Jeff Shankley has a great presence as this cantankerous older man and over the course of the next couple of hours, as he reminisces and reflects, his emotions are always clear as he aims to come to terms with his past and rediscover his passion. When he is moved to anger, Shankley’s sudden rage is jarring. Older Monet is always present on stage, watching his memories play out, sometimes stepping into a scene to play a minor role or make an observation. You can feel a strong connection with his younger self.
Although there are no weak links in a cast full of fantastic singers, most of the characters do not feel as rounded as the older Monet. The artistic contemporaries of his youth do not feel like distinct characters, and it isn’t entirely clear whether the two “critics”, representing the establishment’s disdain for this new “Impressionist” style, are there to make serious points or provide some comic relief, as their scenes and songs do not go ground themselves strongly in either direction. All of the actors perform well, but the script and lyrics do not really give them a chance to really, excuse the pun, make an impression.
As the younger Monet, Dean John-Wilson has less to work with than the older version of his character – he’s single-minded in his obsession with his art and doesn’t have an opportunity to show much character beyond that. But he has stunning vocals, which highlight this passion and obsession with his art, and his character’s desire to be working outside, “En Plein Air”, is infectious. He also has fantastic chemistry with Brooke Bazarian, who plays Monet’s wife and muse, Camille Doncieux. Bazarian is the stand-out performer – her portrayal of the innocent young beauty whose life is turned upside down by financial and health problems as well as living with and loving a man who will always put his art first, is utterly convincing. She has a beautiful, pure soprano voice that soars in the happy moments and shows real strength and power when times are tough. Her Act Two solo, “There Are No Stars” is easily the best song in the show.
Although the music, with orchestrations from Neil Metcalfe, feels very fitting for the period and the mood of the show, most of the songs are not memorable. The cast members offer strong solo singing and tight harmonies but the lyrics are a little banal in places, not offering much insight into characters or moving the plot along. A notable exception is Young Monet’s “In The Light”, beautifully sung by John-Wilson and doing well to draw us into Monet’s inner thoughts. The music only really comes into its own in the final song, “The Beauty of Life”, sung by the whole company and producing a wall of sound that’s a match for the art that’s being projected on the set and into the auditorium.
A Mirrored Monet is a touching, if slightly under-stated, tribute to a great Artist. The first act is slightly frustrating, touching on a lot of Monet’s life story without giving enough detail and leaving the characters feeling a little one dimensional. The second act has more focus on Monet and his wife Camille, and this is where it really shines – with a clearer story arc and some strong, heartfelt performances. Its colours and melodies blend beautifully to create an overall picture that’s very pleasant on the ear and the eye.
A Mirrored Monet runs until 9th May 2026. Find out more and book here.
★ ★ ★