Dark of the Moon Review
Opening at Charing Cross Theatre, the new musical Dark of the Moon brings a supernatural love story to the stage in a fresh adaptation of the 1941 play.
Loosely inspired by the Scottish ballad Barbara Allen, the story has recently resurfaced in the public imagination thanks to references in Stranger Things: The First Shadow and the final season of the Netflix series. With a book by Emmy nominee Jonathan Prince and a score by Grammy‑winning songwriters Lindy Robbins, Dave Bassett and Steve Robson, the production sets out to re‑enchant.
This romance unfolds between two sharply divided worlds: a rural Appalachian town and the mystical realm of witches who inhabit the Smoky Mountains above it. Barbara Allen – a human girl and John – curious witch-boy – find each other and defy their communities to build a life together, but will love conquer all?
Libby Todd’s set and costume design heighten the divide. The townspeople, in denim and checks, are rooted a rural religious community while the witches appear in skin‑tight costumes with facial markings- emphasising their otherness. Wooden cabins that open occupy the stage and a glowing full moon that never leaves the stage is a constant reminder of the forces shaping the lovers’ fate.
The score blends bluegrass, country and rock, and when it lands, it really lands. “Ordinary Life” is a warm, full‑company number that captures the charm of small‑town routine, while “Wildflower” gives Lauren Jones a chance to shine with sincerity and emotional clarity. Some songs had the audience tapping their feet; others were harder to follow, with lyrics occasionally swallowed by the band.
Glenn Adamson is a standout as John, the Witch Boy. Having seen him in Bat Out of Hell, I expected strong vocals, but he also brings vulnerability and wide‑eyed bewilderment. Lauren Jones matches him beautifully as Barbara Allen, a young woman who knows her own mind and refuses to be steered by the prejudices around her. Their duets are among the show’s loveliest moments, offering a genuine, tender centre to the story. Josie Benson’s Conjur Woman commands the stage whenever she appears, her authority cutting through even when the sound balance doesn’t fully cooperate.
With a cast of around eighteen, some characters feel under‑developed. We get only glimpses of who they are beyond their collective suspicion. Similarly, the witches’ world — so central to the plot — remains more hinted at than explored. I found myself wanting a deeper understanding of their world, and the choreography for the trio of witches — Knott, Appolilly Szwarc and Jordan Broatch — occasionally felt out of place.
At just over two hours, the show occasionally feels as though it could be tighter. There are stretches where the momentum dips, and a leaner runtime might sharpen the emotional impact.
Still, Dark of the Moon offers a compelling blend of folklore and romance, anchored by two strong central performances. Its 13 Fringe Theatre Award nominations for 2026 feel well earned. While I left wishing for a deeper exploration of the witches’ world and a slightly tighter pace, the musical ultimately delivers a heartfelt story of what director Georgie Rankcom calls “love and connection in the face of hatred” — a message all worlds, real and imagined, would do well to hold onto.
Dark of the Moon is performing until 8th August 2026. Tuesday to Saturday, 7:30pm; Matinees Wednesday, 2:30pm; Saturday and Sunday 3:00pm
Address: Charing Cross Theatre, The Arches, Villiers Street, London WC2N 6NL
Website: https://darkofthemoonmusical.co.uk
Instagram: https://www.instagram.com/charingcrossthr
