Now, here is something quite spectacular and just a bit different: a Japanese musical, first seen in Tokyo in 2015, which has quickly gained “cult” status, even though it is actually composed by American Frank Wildhorn with book and lyrics by Ivan Menchell and Jack Murphy, respectively. This new staging is its first in English, although a concert version was given at the London Palladium three years ago. The story is adapted from the “manga” of the same name by Tsugumi Ohba and Takeshi Obata, first published in 2003 and, so far, selling 30 million copies worldwide.
A “Manga” is a Japanese Comic Book or graphic novel that often targets different audiences, not just children. Death Note was first issued as a weekly serial and tells the story of Light Yagami, a high school student who finds a notebook that can kill anyone whose name and face he knows. He decides to use it to eliminate criminals and create a new world order, but he is opposed by a mysterious detective called “L”.
Frank Wildhorn’s music sounds anything but Japanese, though Jason Howland’s orchestration and vocal arrangements help by the use of appropriate percussion. It is at its best when in “ballad” mode, some of which are most effective, especially when sung with passion, as they are in this production. The lyrics are suitably “trite”, as in a comic book, with little subtlety, but the great advantage here is that it does make the plot easier to follow! If, as I was, you are a Death Note “newbie”, I would suggest digesting the plot synopsis on Wikipedia! (Give yourself plenty of time!)
Xander Pang is the hero, Light, throwing everything into this stereotyped role. He has great presence and is quickly an audience favourite. Ryuk, the Shinigami (Death God) who drops the Death Note which Light picks up, is magnificently portrayed by Telly Leung in a striking mask and black(ish) costume (designed by Sachiko Nakahara). His stage presence creates great comic-book-style menace – it is surprising how quickly we accept the twists and turns of the plot, most of which have little or no motivation!
“L” the ‘world’s greatest detective’ is forever sweet-eating Colin Ryan, looking casual and suave in white and only being able to sit on a chair in one position. He is hired to capture Light (whose killing alias is Kira) and engages in a cat-and-mouse game with him, which culminates in a cleverly staged tennis match.
Misa is one of Kira/Light’s supporters. She is played by Stephanie Zaharis and possesses a powerful voice which is ideal for putting over Wildhorn’s music, even if her enunciation is not always as clear as it might be. She does exhibit, as does all the cast, especially the ‘ensemble’, terrific energy throughout, which is quite hypnotic, as we are swept up in completely believing the outrageous story.
Light’s innocent younger sister, Sayu, is beautifully sung by Elsie Buckley, and his father, Soichiro, chief of police, is in the hands of Paolo Montalban, one of the few protagonists who is allowed to be a three-dimensional, almost subtle character, refusing to believe that his son could possibly be Kira. He also possesses perhaps the best singing voice on stage, but this may be because instead of ‘belting out’ numbers he is allowed to be much quieter and more subtle! The whole show seems to be the C21 Japanese version of Victorian Melodrama – if only Boucicault had lived in Asia!
Others who particularly impress include Grace Mouat in the role of Rem, a female Shinigami, who has a particularly attractive singing voice and Chloe Saracco as Gelus, whose entire significance comes from one single, tragic act of love.
At the top of this review, I described this staging at London’s Barbican as spectacular, which is, perhaps, an understatement! Jon Bausor has created a set which smoothly moves from one scene to the next, with a huge rectangular platform that descends at an angle as well as whole rooms that appear and disappear: almost the most traditional part of the set is the revolve, which is never overused. The set appears huge, truly taking over the Barbican’s expansive stage and has that “wow” factor, making every set-change seem so easy and obvious! Bausor has been aided by some vast, ever-changing video effects designed by Akhila Krishnan and imaginative lighting by Jen Schriever, who appears to have done everything the director has asked them to do – and more!
I also, unusually for me, have great praise for the sound designer, Peter Hylenski, whose design not only ensures that the ten-piece orchestra, under Katy Richardson, produces a well-balanced sound which never even begins to swamp the singers, it also enables us to hear almost every word with clarity, and therefore follow the plot with ease.
Much praise also for director Stephen Whitson, who has ensured that the Death Note manga is clearly and imaginatively told: there is never a dull moment in this two-hour show (plus interval) and we are left at the conclusion wanting more, which is just as it should be!
The full house at the Barbican clearly enjoyed seeing their heroes (and villains) on stage for the first time: I am sure that the vast majority could have produced Death Note comics, books and videos by the score and have views on the characters as if they were real people. Very highly recommended to those who are Death Note fans – and also offering much enjoyment for everyone else who likes to try something “new”. The whole evening was great fun and total fantasy – just go and lose yourself!
Review by John Groves
If you had the power over life and death, what would you do?
When brilliant student Light Yagami discovers a notebook with the power over life and death, his quest to reshape the world sparks a relentless battle of wits with the elusive detective L, where every name carries consequences.
Write a name. Change the world.
Xander Pang – Light
Colin Ryan – L
Stephanie Zaharis – Misa
Telly Leung – Ryuk
Grace Mouat – Rem
Paolo Montalban – Soichiro
Chloe Saracco – Gelus
Elsie Buckley – Sayu / Ensemble
CJ Benoiton, Louise Liluna Browning, Aoife Haakenson, Samantha Ho, Katie Ka Lay Ho, Olivia Hazel Jones, Matthew Koon, Abel Law, Luchia Moss, Patrick Munday, Richie Paisley, Regine Phua, Nicky Wong Rush, Ernest Stroud – Ensemble
Nicole Carlisle, Renz Cardenas, David Ouch, Sian Yeo (Dance Captain) – Swings
Frank Wildhorn – Composer
Ivan Menchell – Writer
Jack Murphy – Lyricist
Stephen Whitson – Director
Jon Bausor – Designer
Fabian Aloise – Choreographer
Jason Howland – Musical Supervisor, Orchestrator and Arranger
Sachiko Nakahara – Costume Designer
Jen Schriever – Lighting Designer
Peter Hylenski – Sound Designer
Akhila Krishnan – Video Designer
Natalie Gallacher – Casting Director
Paul Kieve – Illusions
Campbell Young Associates – Wigs, Hair and Make-Up Designer and Supervisor
Morgan Reilly – Additional Lyrics
Based on the original manga series by Tsugumi Ohba and Takeshi Obata
Original production by HoriPro
DEATH NOTE: THE MUSICAL
Barbican Theatre
30 July to 12 September 2026
