After seeing Death Note in concert back in 2023 and loving it I was really excited to see what a fully staged production would bring. The musical is based on one of the best selling manga of all time and with music by acclaimed musical theatre composer Frank Wildhorn.
The musical tells of a notebook dropped by a Shinigami and found by Light who discovers that the name he writes in its pages will soon die. He soon turns into a vigilante (or murderer depending on your take) killing those who have escaped justice. However as his kill list grows so does the notoriety surrounding the mysterious deaths, attracting the attention of both L, a detective determined to bring him to justice and Misa, who idolises Light after he kills her parents’ murderers.
Whilst the show is clearly rooted in manga and set firmly in Japan the story itself transcends that and has a universal appeal, exploring questions of justice and morality and what happens when an individual is given the power to play God. The book by Ivan Menchell really draws out these themes kept me guessing at each twist and turn how the story would eventually unfold.
The music by Frank Wildhorn is wonderfully varied and each character had a distinct musical identity associated with them, Misa is given romantic ballads showing her longing for Light and Light’s musical language becomes increasingly rock-driven as he grows in power as the show progressed. It speaks volumes that, if a cast recording was available, it would be on repeat from the moment I left the Barbican.
With six principal characters integral to the story and each one having their own journey it could be easy for an element of one of their stories to get lost however Stephen Whitson’s direction and the cast’s portrayal ensure that none of these journey’s get lost. The cat and mouse game between Light, played by Xander Pang and L, played by Colin Ryan was enthralling to watch, both portrayed their respective confident characters in a very different manner which worked well. Pang exuded arrogance as Light and Ryan was a wonderfully quirky, incredibly expressive yet likeable character. Ryuk, played by Telly Leung is the Shinigami who drops the death note that Light finds and as a consequence becomes Light’s shadow throughout the show and despite the natural darkness in Ryuk’s character Leung found a huge amount of comedy in the role and allowed some lighter moments of reprieve in his back and forth with Light.
Misa is played by Stephanie Zaharis and she was utterly believable as a pop princess from her rendition of ‘We All Need A Hero’ performed alone on the stage through to the high-octane ‘I’m Ready.’ Misa has her own Shinigami, Rem played by Grace Mouat who is compelling as a Shinigami in turmoil and her number ‘When Love Comes’ was one of my personal vocal highlights of the show.
What really sets this musical apart many others I have seen is the visual spectacle. Fabian Aloise’s choreography feels fresh and relevant at every turn, creating intricate patterns which underline the purpose and emotion of each song. From Misa with her backing dancers in ‘I’m Ready’ appearing as every inch a pop princess in her routine through to the unveiling of L as the audience meets him in a striking combination of movement, lighting and visual composition to heighten the moment.
The visual spectacle continues with the set designed by Jon Bausor as video screens enhance the story rather than seek to replace it and the walkway that can descend to stage as required is put to brilliant use as the Shinigami are literally able to watch over the humans below. Various locations such as the police headquarters and Lights bedroom appear out of the darkness. Combined, these elements male for an impressive feat of stagecraft made even more remarkable by the limited nature of the Barbican engagement. Lighting designed by Jen Schriever also helps create this spectacle and her work is so utterly ingrained in the direction and the success of the choreography, that it really feels like an achievement for the entire creative team. This production clearly understands that manga is an inherently visual medium and translates that visual language into live theatre through movement, lighting, projection and design.
Death Note succeeds because it understands that bringing manga to the stage isn’t about trying to replicate its visual world but finding a theatrical language of its won. with a striking combination of music, movement, lighting and design this production creates a world that feels faithful to its source material and completely at home on stage. Add a compelling cast and a score than demands a cast recording, this is a production that makes a compelling case for Death Note as a musical in its own right.
Death Note is currently booking until 12th September at the Barbican. You can find out more and book tickets here.
If you like this review you might also like my review of My Neighbour Totoro, Jesus Christ Superstar and Beetlejuice