A Mirrored Monet | Charing Cross Theatre

The studio of Claude Monet opens its doors and shimmers to life at the Charing Cross Theatre in A Mirrored Monet; a lush, reflective new musical that captures the beauty and melancholy of the artist’s story with warmth and grace. This is a show painted with heart, artistry, and detail.

The lighting design by Jodie Underwood is nothing short of exquisite. Underwood's work has an exceptional way of sculpting emotion and texture at every turn, crafting a visual heartbeat for the piece, perfectly complementing Libby Todd’s intelligent and slightly haunting set that allows for clever transformation and represents a canvas fantastically. Matt Powell’s video design adds another layer of brilliance, evolving the stage into the moving world of Monet’s art. All whilst Todd’s elegant costumes complete a lush aesthetic that’s poised and artistic. The technical elements of A Mirrored Monet are a spectacle.

Dean John‐Wilson stands at the core as Young Monet, his assured charm and gorgeous vocals radiate star quality. His portrayal captures the passion and complexities of the man who dedicated his life to art. His portrayal of Young Monet is so assured, it is almost hard not

to deny his wrongs. Natalie Day impresses in her multi‐rolling turns, flitting between humour and heartbreak with effortless precision, and Brooke Bazarian’s Camille delivers a beautifully crafted arc, complete with bite, elegance, and soaring vocals. Bazarian is the perfect female lead, encapsulating all necessary parts of this emotional journey.

John Addison and Steven Serlin make for a delightful pairing as Leroy and Marquis, offering much‐needed contrast and levity, though their worlds would have benefitted being explored in greater depth. Both Addison and Serlin hold a fantastic comedic touch and sincerity within their characters contrarian positioning. Jeff Shankley proves himself as the backbone of A Mirrored Monet, providing strong narration, anchoring the reflections of Monet's later life with authority and tenderness. Shankley's fits of anger and grief are undeniably touching and bring the audience to root for him at the right time.

Carmel Owen’s score is rich and whimsical, often echoing the charm of Amélie with its melodies and glow of French romance. Its orchestration is strikingly pretty, particularly in the second act, though a few lyrical moments land less smoothly than others - yet this is overshadowed by the overall success of the score. Owen sprinkles humour throughout the piece's book too, which occasionally feels a little uncertain, yet there’s still an undeniable wit and heart pulsing throughout.

Unfortunately, some scenes throughout sometimes feel rushed in terms of character development and could benefit from some more focus on the book, yet the story is still told well. Whilst the framing device of the elder Monet looking back sometimes feels a touch displaced, it ultimately delivers a beautiful finale that ties the story together with real emotional weight. The final turn encapsulates the emotional essence of A Mirrored Monet perfectly.

Director Christian Durham brings everything together with great sensitivity. His direction fits the artistic essence of the show beautifully and allows for some fantastic reflection and insight into Monet's truth. Movement by Heather Douglas lends flow and softness, ensuring that even transitions feel artistic and adding additional tenderness to the romantic turns.

A Mirrored Monet's spirit, visuals, and score combine to create something genuine and hearty. It’s a lovingly drawn portrait of an artist learning to balance love, legacy, and the eternal pursuit of ambition. This is a strong, heartfelt production, and one to catch before its last stroke.

A Mirrored Monet plays at the Charing Cross Theatre until 09th May - tickets and more information can be found here.

★★★★☆ (4*)

Gifted tickets in return for an honest review | Photography by Pamela Raith