⭐⭐⭐ (Three Stars)

Dark of the Moon, a new musical directed by Georgie Rankcom with a book by Jonathan Prince and based on the play of the same name (itself inspired by the folk song The Ballad of Barbara Allen), finds its London premiere at Charing Cross Theatre. Bringing together a strong cast, an eclectic score (with music and lyrics by Lindy Robbins, Dave Bassett, and Steve Robson), and some stunning design elements, the musical has a lot going for it. However, unfortunately, the production as a whole never quite manages to match the sum of its parts.

The musical follows John the Witch Boy (Glenn Adamson), who falls in love with human girl Barbara Allen (Lauren Jones) and makes a Little Mermaid-esque deal with the Conjur Woman (Josie Benson) in order to become part of her world. If John and Barbara are able to remain faithful to each other for a full year, John will be able to fully become a man and live with Barbara for the rest of their mortal lives. However, we’re repeatedly told - if not shown - that Barbara has a history of promiscuity, while John is trailed by a trio of witches (Al Knott, Appolilly Szwarc, and Jordan Broatch) attempting to seduce him into witch orgies. The couple’s relationship is therefore put to the ultimate test, as if either breaks the conditions of the Conjur Woman’s spell, Barbara will die.

The major issue with Dark of the Moon is that it struggles to establish a consistent tone throughout and can’t seem to decide whether it wants to be a sincere romance or a campy supernatural romp. At various points, both appear to be the production’s intention, leaving the audience feeling somewhat confused. For example, the duets between Barbara and John - particularly their final song together, “Forgive Me” - are full of believable emotion and tenderness. Moments such as these are jarringly juxtaposed with other moments in which witches writhe around the stage singing lyrics such as, “Life’s a bitch, glad I’m a witch,” or Barbara’s brother pens a song titled “Life Sucks,” which begins, “You used to be so hot,” to perform at a local woman’s funeral.

Set in the fictional Appalachian town of Buck Creek near the Smoky Mountains (where the witches reside), the musical blends several genres of music to create a varied and interesting sound. Ballads such as “Wildflower,” performed beautifully by Lauren Jones - who has one of the most impressive voices on any London stage - sit alongside upbeat group numbers accompanied by energetic line dancing, choreographed by Jane McMurtrie. Glenn Adamson’s voice perfectly suits the rock numbers sung by John the Witch Boy, particularly “Certified Rockstar” in the second act.

Libby Todd’s set design, featuring wooden structures beneath an enormous full moon, effectively captures the play’s small-town setting. Additionally, Jonathan Chan’s lighting design excellently contributes to the mysterious and otherworldly feel of the witches. Since the witches are able to walk amongst the humans unseen, Chan uses cool blue-white lighting for the witches and warm yellow tones for the humans to differentiate between them: an effect that works very well throughout the production.

Overall, Dark of the Moon has many elements to be celebrated, and it is certainly an enjoyable night out at the theatre. However, it does feel disjointed in tone and as though it could benefit from further development in order to become a fully cohesive piece.

Dark of the Moon runs at Charing Cross Theatre until 8th August 2026.

Tickets Available Here