Kenrex at The Other Palace Theatre Review
Written by Amelia for Theatre & Tonic
Disclaimer: Gifted tickets in exchange for an honest review
Kenrex is a true-crime theatre piece that fuses documentary-style narration with Western influences and a live Americana score. It revisits the real events of 10 July 1981 in small-town Missouri, where the community finally confronts local terror Ken Rex McElroy, a man long accused of everything from theft and intimidation to violent assault and attempted murder. Blending the feel of a Netflix documentary with the atmosphere of a Western and the energy of a live gig, the show mirrors the immersive pull of a true-crime podcast — only brought to life on stage.
The world premiere of Kenrex took place in Sheffield, where it had a sold-out run and received critical acclaim upon its debut. Shortly after this, the production transferred to Southwark Playhouse Borough where it played earlier this year. The newest season comes to The Other Palace in London, a much more central and accessible theatre for many theatregoers. The piece is co-written by Jack Holden and Ed Stambollouian, with Holden performing the entire story himself as a one-man show. The production also features live music by composer and musician John Patrick Elliott with the live soundtrack playing a key role in shaping the show’s mood.
So, at risk of ruining the sophisticated reviewer persona I have so brilliantly created over the years, the first thing I wrote down in the internal was: ‘I actually can’t believe I’ve just watched a one man play, like there’s actually no way this even exists.’ And if that doesn’t sell you on the brilliance of this piece, I don’t know what will.
This production proves just how powerful simplicity can be. A single spotlight casts the shadows of countless figures, and with barely a seam between character transitions, the performance becomes a masterclass in clarity and control. Jack Holden’s ability to carry an entire show on his back is nothing short of astonishing, with every character distinct, confident, and instantly recognisable. His depiction of the titular character was especially haunting, but it was the portrayal of lawyer Richard McFadin that really brought the house down. I’m hopeful there’s opportunities for understudy Fabian Bevan to give audiences his portrayal of such a complex story.
The staging and movement are masterfully crafted by movement director Sarah Golding, whose work elevates the piece without ever overwhelming it. It’s so simple, yet so effective, allowing the story to unfold with remarkable fluidity. There’s subtle props within the set, created by set and costume designer Anisha Fields, the microphones and stands being the most prominently used. The use of levels and stairs also creates dimension within the production, and gives us different locations despite the lack of scenery. There’s actually no need for anything else; as an audience we have everything we need to create and follow the story.
The sound and lighting design deserve special mention too (Giles Thomas and Joshua Pharo respectively). Every cue, every musical beat, every carefully placed sound effect lands perfectly. The world they create is rich, immersive, and inviting - yet still full of surprises, with moments that catch us off guard just when we think we’ve found our footing.
Whether you get the train or steal an automobile, you have to get to see this production. It’s an extraordinary piece of theatre powered by sheer brilliance, bold creativity, and a performer who delivers it all with absolute command.
Please note this production contains haze, flashing lights, strobe lighting, loud noises, gunshot sound effects, depiction of physical violence and death, strong language, and references to grooming, rape, sexual and physical abuse.
Kenrex plays at The Other Palace until February 1st 2026.
★ ★ ★ ★ ★
