Dark of the Moon | Charing Cross Theatre

Dark of the Moon at the Charing Cross Theatre is one of those productions that feels perfectly matched to its venue. Tucked beneath the bustle of central London, the intimate atmosphere of the theatre gives this folk musical drama an eerie, smoky energy from the moment the lights dim.

There’s something wonderfully old-fashioned about it all. It’s part Southern Gothic fairytale, part supernatural romance, part witchy fever dream and while the show doesn’t entirely stick the landing, it’s undeniably full of charm, atmosphere and some seriously impressive performances.

For anyone unfamiliar with the story, Dark of the Moon follows John, a mysterious witch boy who longs to become human after falling in love with a mortal girl named Barbara Allen. What begins as a haunting romance slowly spirals into something darker, stranger and more tragic, as superstition, religion and fear ripple through a deeply isolated community. It’s a tale packed with folklore, desire and suspicion, and while the production keeps its secrets close to its chest, it wisely avoids giving too much away too early.

What truly elevates this production, though, is the music. The score has a rich, earthy quality that suits the material beautifully, and there are moments where the vocals alone completely sweep the audience away. Lauren Jones is, quite simply, phenomenal. Every time she steps onto the stage, the entire production seems to sharpen into focus. Her vocals are breathtaking, powerful, emotional and effortless all at once and she absolutely steals the show. Even in scenes that occasionally drag, Jones brings such intensity and conviction that you can’t help but be pulled back in. She has that rare quality where your eyes naturally follow her no matter what else is happening on stage.

Glenn Adamson is also fantastic, bringing both warmth and melancholy to his role. There’s a sincerity to his performance that keeps the emotional core of the story grounded, even when the production leans heavily into its more surreal or melodramatic moments.

The chemistry between the cast members works well overall, and vocally the ensemble is consistently strong. One of the production’s smartest choices is how distinct the witches feel from one another. It would have been easy for them to blur into one collective spooky presence, but instead each character has their own personality, physicality and flavour. It gives the world a much richer texture and makes the supernatural elements far more engaging.

Their costumes deserve a special mention too, beautifully detailed and wonderfully atmospheric without tipping into cliché. Libby Todd's design across the show really helps build the strange, dreamlike mood the production is aiming for.

That said, this is definitely a slow burner. Act one takes its time establishing the world and relationships, perhaps a little too much time in places. There’s atmosphere in abundance, but the pacing occasionally drifts, and some scenes feel overextended when they should be building tension. You can sense the production wanting to create a simmering sense of dread, but it sometimes comes at the expense of momentum. A tighter first half would have made a huge difference.

Thankfully, act two is where everything really comes alive. The drama ramps up considerably, the emotional stakes become clearer, and the story finally delivers the twists and intensity that the first act only hints at. Suddenly the production finds its rhythm: sharper, darker, messier and much more entertaining. There’s a theatrical boldness to the second half that feels genuinely gripping, and the audience around me seemed noticeably more invested once the plot fully kicked into gear.

The show also occasionally struggles with tone. At times it wants to be a haunting tragedy, at others a darkly comic folk tale, and occasionally a full blown musical melodrama. Those elements don’t always blend seamlessly together, which can make certain scenes feel slightly uneven. Some emotional beats land beautifully, while others feel oddly rushed or overplayed. There are moments where the storytelling becomes a little muddled, particularly for audience members unfamiliar with the material.

Still, even with its flaws, there’s something incredibly watchable about this production. It may not fully cast the spell it’s aiming for, but it comes impressively close. The music is gorgeous, the performances are often excellent, and the atmosphere lingers long after curtain call.

More than anything, Dark of the Moon feels ambitious, and in an age where so much theatre can feel overly polished or safe, there’s something refreshing about a production willing to embrace its weirdness. It’s not flawless, and the pacing issues stop it from becoming truly exceptional, but thanks to standout performances, especially from Lauren Jones, strong vocals and a richly atmospheric production design, Dark of the Moon remains an engaging and memorable night at the theatre.

Dark of the Moon plays at the Charing Cross Theatre until 08th August 2026 - tickets and more information can be found here.

★★★☆☆ (3*)

Gifted tickets in return for an honest review | Photography by Tom Bowles