Charing Cross Theatre • 24 March - 14 June 2025

I’ve seen the Charing Cross Theatre rearranged in a variety of configurations for different productions over the years, some choosing to arrange the auditorium for a traverse stage, whilst others go for the somewhat more conventional thrust or proscenium stage. It is in the latter that the theatre has been configured for Stilleto, a new musical receiving its world premiere with music and lyrics by Matthew Wilder, book by Tim Luscombe and directed by David Gilmore. The surprisingly deep stage achieved through this configuration is used to it’s full extent to accommodate Ceci Calf’s very impressive set design, the mysterious arches and colonnades at first depicting an ornate Venetian piazza, later becoming the backdrop for the grand dwelling of Countess Azurra D’orozco (Kelly Hampson) and her devious husband Pietro (Douglas Hansell).

The upper floor of the arched facade is used to smartly secrete the 10 piece orchestra, and as they strike up to play the opening song, this impressive setting is immediately filled with all the full hustle and bustle of a town square, the privileged rubbing shoulders with paupers, the aristocracy mingling amongst the theatre folk. It’s clear this is a production conceived to be performed on an impressive scale, a fine example of the magic of theatre given the TARDIS like quality of the Charing Cross Theatre itself, as nothing of it’s spacious interior is given away by its rather unassuming entrance being little more than a doorway in a passage under Charing Cross Station.

During the impressive opening number we are introduced to Marco Borroni (Jack Chambers). Described as having, “The grace of the feminine but the power of a man”, Marco is a castrato, a gifted singer castrated before puberty so as to preserve his soprano range. A surprisingly common practice in Italy during the 18th Century, a successful castrato could be lifted out of the poverty they usually hailed from to become the superstars of their day through their mesmerising performances, often appearing in the female roles of the opera’s of the time. Marco is on the cusp of being recognised as “the most ravishing voice brought to Venice in years”, but, as if the practice of castrating pre-pubescent boys wasn’t dark enough, we also discover that Marco had been sold as an eight year old child to his now singing teacher Faustino Conti (Greg Barnett) whose obsession with his young protege has seen them become lovers, although one suspects the young Marco is being rather more exploited than nurtured. “I was meat for the jackal’s to pick over”, Marco declares in recollection of his youth, although sexuality in 18th Century Venice would appear to be incredibly fluid, the Countess’s husband also revealed to be having an affair with his male accountant, all while the Countess finds herself becoming increasingly enamoured with the young Marco.

With plenty of plot for the audience to already get their teeth into, Marco meets Gioia (Jewelle Hutchinson), the black daughter of slave parents who he not only falls for physically, but is mesmerised by the beauty of her voice. Given her circumstances Gioia’s path to wealth and fame is unlikely to be realised. “God has given me this gift” she says, “but has forbidden me to fly”, but Marco is prepared to fight for her, even if it means loosing the breakthrough role he has just been offered, playing the female role of ‘Amelia’, by questioning why it is that men should play women’s roles when he has discovered such a talented singer in Gioia who is beyond capable of playing the part herself. This revolutionary fervour flies in the face of the Pope’s ban of women on stage at the time, and even though racism not to mention misogeny is rife amongst those that surround her, the countess appears progressive in her outlook, much to her husbands chagrin. Things becomes more complicated however when a Cardinal, Don Ricci, (Alex Anstey), meets his tragic death, being stabbed by a long slender blade, the ‘stiletto’ of the musicals title, a crime of which Gioia now stands accused.

By dint of the theatres location, Stiletto may be presented here as an Off West End musical, but it’s scale and ambition is definitely more that of a fully-fledged West End show with a talented cast well supported by the size of David Gilmore’s vision and the quality of Matthew Wilder’s music, the latter being a three time Grammy nominee, not to mention having written songs for Disney’s Mulan. (The style of which Wilder’s score has much more in common with than 18th Century Opera). Despite the expansion of Disney+ into producing more content for it’s adult demographic, I don’t think they will be rushing to produce a similarly animated feature with this level of castration, infidelity, and sexual proclivity anytime soon, but the mouses’s loss is most definitely theatre’s gain, given the story that unfolds here is as fascinating as it is well executed. (No pun intended!)

Credit must also go to set, sound and lighting design who, in no small measure bring an epic sense of the cinematic to the stage even in the productions more intimate moments. Unfortunately, after the success of all of these elements coming together harmoniously throughout the first half, this production was sadly tempered by a rather more episodic second half that failed to produce the same magic that had effortlessly delighted throughout the first half, with characters like Pietro being strangely allowed to slip into carictature… yes, I know this is musical theatre where heightened performances are more the norm than the exception, but when a couple of the performances become uneven between the two halves it ultimately becomes a bit of a distraction, along with a slightly clunkier story progression.

That being said, this was only noticeable due to the self assured spectacle of the first half, by which point I was already sold on Stiletto being an impressive addition to the musical theatre landscape and a thoroughly enjoyable night out.

★★★★