Dark of the Moon, Charing Cross Theatre

★★★

There’s something undeniably appealing about a musical that leans into folklore. Throw in witches, forbidden love, a small mountain town and a score infused with Americana, and on paper Dark of the Moon sounds like exactly the sort of offbeat new musical that Charing Cross Theatre does so well. Unfortunately, while there’s plenty to admire here, the finished production never quite casts the spell it’s aiming for.

Barbara Allen (Lauren Jones) and John the Witch Boy (Glenn Adamson)

Based on the classic play inspired by the folk ballad of Barbara Allen, the story follows Barbara (rather oddly always referred to as Barbara Allen even though there are no other characters called Barbara), a young woman living in the Appalachian community of Buck Creek, and John, a Witch Boy who longs to leave his supernatural world behind in order to be with her. Their romance is met with suspicion and hostility from both the townsfolk and the witches, creating a story that blends folk tale, fantasy and tragedy.

The production certainly knows how to create atmosphere. The smoky mountain setting is beautifully evoked through clever lighting, movement and a simple but effective set design that allows the story's more magical elements to come to life. There are moments when the staging does much of the heavy lifting, creating striking images that linger in the mind long after the scene has ended.

Lauren Jones brings warmth and sincerity to Barbara Allen, making her an easy character to root for even when the narrative around her becomes increasingly melodramatic. Opposite her, Glenn Adamson fully commits to John's outsider status and longing to belong. Together they create a believable connection, and it's their relationship that keeps the audience invested through some of the show's less focused moments.

Musically, Dark of the Moon has plenty going for it. The folk and bluegrass influences give the score a distinctive sound and there are several numbers that stand out, particularly when the full company is involved. The musicians deserve enormous credit for creating such a rich soundscape throughout the evening.

One area where the production actively works against itself, however, is the sound design. There's no questioning the talent on stage – this is a cast packed with exceptional singers – but the level of amplification often feels excessive for a venue the size of Charing Cross Theatre. Josie Benson, in particular, delivers a commanding performance as Conjur Woman. Her voice is a powerhouse, rich, controlled and effortlessly capable of filling the space on its own. Yet the heavy amplification occasionally overwhelms rather than enhances, making it harder to appreciate the natural quality and nuance of the vocals. When you've got voices this strong, less really can be more.

The show's themes also feel slightly caught between old-fashioned storytelling and modern sensibilities. Early on, Barbara Allen is presented as a young woman yearning for something beyond the narrow future mapped out for her. After one of the musical's strongest songs, Ordinary Life, she rails against the expectations of her small-town community and the prospect of settling down with the boy her parents have chosen for her. It's a relatable and surprisingly contemporary idea: a woman wanting agency over her own future. Yet, that independence feels only partially realised. Barbara may reject the marriage arranged for her, but her escape is ultimately still achieved through marriage – simply to John the Witch Boy instead. While that may fit the fairy-tale roots of the story, it leaves her journey feeling less progressive than it initially promises.

The bigger challenge lies with the storytelling itself. Despite a premise packed with potential, the emotional stakes never fully land. Several characters feel more like archetypes than fully developed people, and the narrative often circles the same ideas without adding much depth. As a result, the second act starts to feel longer than it needs to, and some of the momentum built in the first half begins to drift away.

That said, there's an ambition to Dark of the Moon that I genuinely appreciated. New musicals are always a risk, and this one certainly isn't short of ideas. The creative team has built a fascinating world, and there are flashes throughout the evening that suggest a stronger show waiting to emerge.

It may not be a production that completely comes together, but if you enjoy folklore-inspired stories, atmospheric staging and the chance to see a new musical finding its feet, there's enough here to make a visit to Charing Cross Theatre worthwhile. Just don't expect to fall completely under its enchantment.

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

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