REVIEW | Death Note: The Musical in Concert
Adam Pascal and Joaquin Pedro Valdes in Death Note, © Mark Senior★ ★ ★ ★
Reviewer - Eleanor
Death Note: The Musical is based on the manga ‘Death Note’ written by Tsugumi Ohba and illustrated by Takeshi Obata. It is one of the most enduring and well-known manga series, continuing to be popular since its release in 2003.
Light (Joaquin Pedro Valdes) is a teenage student in Tokyo who is dissatisfied with the justice system and, inspired by his detective father (Christian Ray Marbella), wishes to make the world a better place. It is at this time he comes into possession of a Death Note, a book which gives the owner the power to kill just by writing a person’s name. With the book in hand, and followed by the book’s original demonic owner Ryuk (Adam Pascal), Light begins a notorious killing spree which earns him the pseudonym of Kira. But it isn't long before the police call on enigmatic detective ‘L’ (Dean John Wilson), whose unconventional methods of deduction could help lead them to their killer. Can Light elude his father’s investigation and this new adversary?
Death Note: The Musical was one of my most highly anticipated shows of the year. I read the manga quite a few years ago and was familiar with the characters and the overarching story. I have also seen a few adaptations of the original which were not critically successful, such as the 2017 Netflix film, so I was really excited as to how the material would be transferred to the stage. Upon entering the London Palladium, the atmosphere was electric. The excitement of the audience made for a buzz I have not experienced in a theatre in a long time, and I think the majority left satisfied. Considering this was a concert performance, the creative team went all out on the set, lighting and costume. The soundtrack is cohesive overall with some really stand out moments. If you know the source material, you will get a lot out of this show - but there is plenty to enjoy for those coming across it for the first time.
The plot of Death Note: The Musical (with the book of show written by Ivan Menchell) is well-paced. Synthesizing a long-running series into a 2-hour show is no easy feat. Enough time is given to set up each of their characters and their motivations within the first act, so as the plot develops you are able to empathise and become even more engaged as the show reaches its climax. Although a lot of serious themes and actions are discussed here, the musical still retains the humour that you find in the original text. But I do think this could have been spread out more, rather than just in isolated moments. As a staged concert much of the focus is given to the songs, but the plot efficiently and effectively leads you from one song to another. The only time when I think more of a ‘lead in’ would be helpful is with ‘I’m Ready’ (a J-Pop song performed by the character of Misa), as it is such a tonal shift from what has come before it.
The song list (music by Frank Wildhorn and lyrics by Jack Murphy) for this psychological thriller is equally dark and foreboding with some lighter elements. Some particular highlights were Light’s repeated song ‘Hurricane’, Misa’s song ‘Borrowed Time’ and ‘Playing his Game.’ The latter is particularly exciting as it is sung between the two main protagonists while they play an increasingly heated tennis match. But even with a number of notable songs, there were a couple which had very little impact. I think all those sung by the demonic Shinigami could have been more interesting lyrically and musically, and songs sung by the detective ensemble and Light’s father were uninspiring.
The score is undoubtedly elevated by the incredible singing and acting talent on display in Death Note: The Musical. The duets between Joaquin Pedro Valdes as Light and Dean John Wilson as L were very gratifying, with long held final notes delivered expertly by both of them. Adam Pascal as Ryuk was excellent and I only wish he had more varied material to work with. Aimie Atkinson, who played Rem, had a gorgeous voice but I unfortunately struggled to hear a lot of the lyrics to her solo number ‘When Love Comes’, which was a particular shame as a lot of the themes mentioned here impact the later plot. The standout performance came from Frances Mayli McCann as Misa. Her performance of ‘Borrowed Time,’ with limited acting and movement, really showed off her voice. Although the character of Misa is not particularly complex, it is in the music that you really learn about her character. It was therefore a shame that there were quite a lot of instances where mics were not turned on quick enough or not turned up enough, so the first few lines of every actor's dialogue were quiet or inaudible. This occurred repeatedly throughout the show. I put this down mainly to it being the first performance, and I hope this is the kind of technical kink which will be ironed out.
As I have not been to see many staged concerts I was unsure what to expect. I was well aware that, as this is not a fully produced show, the costumes and set would likely be limited and the dialogue between songs would be brief. However, Death Note exceeded all my expectations. As soon as the set was revealed you catch a glimpse of settings familiar with the manga: Light’s bedroom, the detective’s office, and L’s regal armchair. The way this setting was split into three showed how the three key characters were locked against one another. I also enjoyed how lighting was used to give each character their own unique colour palette to emphasise this idea. Further raised staging worked well to add a sense of place to other scenes and interest to the actors’ movement throughout the show. The only note I would add is that the wings at the London Palladium are rather large, so if you are sitting in the grand circle or to the far sides of the theatre you may well have a restricted view.
In addition to the set, some of the key costumes also garnered a rapturous audience reaction. More specifically, how the demonic Shinigami had been depicted. Although Rem looked quite different to the original illustrations, Ryuk was instantly recognisable. The hair, costumes and makeup all came together to create something which looked quite modern but helped immerse you in that world.
Overall, I thought this concert performance Death Note: The Musical was very impressive, quickly captivating the entire audience with this interesting story of morality and justice. The acting and singing prowess on display here is strong across the board, but I wish some of the songs could do more to advance the plot. Although there were a few technical issues which affected my immersion, I really hope this show gets a full production in the UK soon.
Death Note: The Musical in Concert is transferring to the Lyric Theatre 7-10 September.
