Originally produced on Broadway in 1945 and arriving in London three years later, Dark of the Moon has now been revived as a musical, featuring songs by Lindy Robbins, Dave Bassett and Steve Robson. The story revisits the well-worn territory of star-crossed lovers. Barbara Allen, a young woman from a close-knit Appalachian community, falls in love with and marries John, a witch-boy. As suspicion grows among her family and neighbours that John is not fully human, the couple find themselves increasingly isolated. John has struck a bargain with the Conjur Woman: if he and Barbara remain faithful to one another for a year, he will become human. But the witches have other ideas. If John leaves their ranks, the coven will lose its quorum. The battle lines are drawn and tragedy seems inevitable. The problem is that the narrative unfolds with little surprise. Familiar material can still feel fresh when elevated by an original interpretation, exceptional performances or a memorable score. Leonard Bernstein's West Side Story, another reimagining of the Romeo and Juliet story, is the obvious benchmark. Unfortunately, Dark of the Moon never approaches those heights. There are a handful of appealing songs, notably "Wildflower" and "I'd Die for You", but none possess the emotional force or musical originality needed to truly ignite the evening. The score never delivers the show-stopping moments the material desperately needs. The book fares no better. The first act spends an inordinate amount of time laying foundations, while most of the genuinely interesting developments and twists are crammed into Act II. The humour is broad and predictable, generating only generous laughter. Visually, the production is equally inconsistent. The villagers' costumes look improbably bright, clean and new for an impoverished Appalachian community, while the denim jackets, footwear and Barbara Allen's hairstyle feel distinctly twenty-first century. By contrast, the witches are dressed in a palette of relentless drabness that makes them visually uninteresting rather than threatening or seductive. Most unfortunate, however, is the lack of chemistry at the heart of the show. Everything depends on the audience believing in the love between John and Barbara Allen. Yet Glenn Adamson and Lauren Jones never quite convince as a couple whose passion is worth defying family, community, and fate itself. In the end, Dark of the Moon feels caught between worlds: too familiar to surprise, too musically modest to soar, and too emotionally distant to break the heart. Despite flashes of promise, this musical revival never quite emerges from the shadows.
Rated: ★★
Reviewed by J.C.
Photo by Tom Bowlles
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