Review: DEATH TAKES A HOLIDAY, Charing Cross Theatre

Maury Yeston, Peter Stone and Thomas Meehan's latest show to hit the stage, continuing Thom Southerland's season at Charing Cross, is a musical adaptation of the old Italian play La Morte In Vacanza. With echoes of The Phantom of the Opera in story and music, it stands out in the current crop of new musicals whilst not really breaking new ground.

Grazia (Zoë Doano) is celebrating her engagement to Corrado, but things get out of hand and the group are involved in a car accident; Grazia is thrown from the vehicle but miraculously is found unscathed. Later that night, Death (Chris Peluso) visits her father and announces that he will be staying with them in the human form of Prince Nikolai Sirki, as he wishes to experience human emotions and why he is so feared. His brief holiday has strange effects on both the family and the wider world, none of which go unnoticed. But what Death really hadn't bargained for was the effect that human emotions would have on him.

Morgan Large's set design is suitably Gothic in design, fitting with the deathly side of things, but it is Matt Daw's lighting design that really makes the whole thing work visually. There are some utterly breathtaking moments; occasionally cinematic in feel, other times more like you are gazing at a vivid work of art.

It is set in the Roaring Twenties, with the First World War and the Spanish 'Flu giving Death his need for a break, however the carefree spirit usually associated with this period in history is somewhat lacking. Understandably the score goes down the more operatic route, reflecting the dramatic themes and the Italian setting, but in so doing it misses out on representing the importance of that age on people's motivations and wish to push themselves to the edge. It certainly is a beautiful score, and wonderfully performed, even if it isn't especially memorable.

The company is fairly compact in size, but makes up for it with some incredibly well-layered harmonies. James Gant gives a standout supporting performance as the comically nervous butler, Fidele.

Doano and Peluso's vocals combine mellifluously; their duets provide some of the best musical moments of the show, particularly "More and More". Peluso also proves to be adept at bringing out the humour - whether it's the occasional throwaway black comic comments or the joyful rendition of "Alive!" as Death has his first experiences as a human.

Death Takes A Holiday has a bittersweet feel to it; it's not wholly unpleasant, but neither is it remarkable. The production is visually arresting, and its multiple vocal parts are intriguing, all performed by fantastic singers. Ultimately, however, it's a bit safe and lacks a much-needed injection of excitement.

Death Takes A Holiday is at Charing Cross Theatre until 4 March

Picture credit: Scott Rylander and Annabel Vere