’Rebecca’: A Multi-Sensory Musical of Firsts

Photo credit: Mark Senior

Those seeking an imaginative escape to the Cornish home of Manderley may want to pick up Daphne du Maurier’s novel for a more authentic gothic escapade, rather than heading to the makeshift ‘multi-sensory’ musical Manderley on offer at Charing Cross theatre, London. Though if you go in with an open mind, you’re sure to have an experience of firsts.

This predominantly spoken thirty-nine-song musical debuts its first interpretation in London, an exciting prospect given the gravitas of Rebecca’s ghostly figure that still lingers from Germany’s 2006 musical sensation by German-language composers Michael Kunze and Sylvester Levay. It would be no surprise, however, if Rebecca was turning awkwardly in her watery grave, for this production needed to set free the supernatural essence of du Maurier’s epic in grand proportions, with drama, design, and atmospherics to honour Manderley. One wonders whether an off-West End theatre ever had the budget to truly bring this whopper to life.

 In such a small theatre, set design is always going to be a challenge, but Nick Shaw’s transitions give the narrative enough space to breathe, just about.

There are commendable things about the production, however, mostly with the performance and its stellar cast. The commitment to narrative and performance from a jubilant company is without doubt noticeable, with a rich tapestry of vocal talents highlighted by the three main characters. The enchanting Lauren Jones delivers a complex timbre and a colourful, yet meek, newly married Mrs De Winter, whilst Richard Carson proves his mastery of the spoken-song genre, evidently well trained from his time at Les Mis. The nod of the show, however, goes to Mrs Danvers, played by Kara Lane, the obsessive servant to her heroine, for her sense of drama and vocal range, fierce looks, and determination to smite the new Mrs De Winter.

 In such a small theatre, set design is always going to be a challenge, but Nick Shaw’s transitions give the narrative enough space to breathe, just about. The one thing missing is the drama of Manderley, and those familiar with the novel and its bounty of description will no doubt pick up on this, but there are some joyful moments such as the sweeping staircase and Mrs Danvers ghostly effervescent presence, as well as the projections across the facades of the set, designed by Matt Powell.

It’s certainly a multi-sensory experience, which could be handled a little more delicately, what with over-zealous audio blazing out

The orchestration is a cacophony of melodies reminiscent of a 90’s musical, in my opinion somewhat a Webber-Rice-Mackintosh mix with a Jonathan Larson sprinkling in the wings, and trigger-happy flourishings of woodwind and percussion. It’s certainly a multi-sensory experience, which could be handled a little more delicately, what with over-zealous audio blazing out, and with the amount of smoke that is pumped into audience to create the edge of the lake you will certainly understand what Rebecca went through when she choked to her demise. I’d recommend sitting towards the back of the stalls if you’re a sensitive soul.

 All in all, I’d say go and experience the musical, not least because this is the first interpretation of Rebecca seen in London, but also for the superb performances of all cast members. For those looking for an authentic staging interpretation, this won’t be for you, but still, it’s sure to be a fun night out.

Book here.