A gripping manga crime thriller perfectly enveloping the vast Barbican stage
⭐⭐⭐⭐
What's it about?
Based on the hugely successful Japanese manga by Tsugumi Ohba and Takeshi Obata, Death Note: The Musical follows brilliant student Light Yagami, who discovers a mysterious notebook that allows him to kill anyone simply by writing their name within its pages. As Light sets out to create what he believes is a perfect new world, he attracts the attention of the enigmatic detective L, leading to an increasingly tense battle of intelligence, morality and power.
What we loved
This is a genuinely large-scale production. With a sizeable cast, an impressive multi-level set and a passionate audience behind it, Death Note feels like a major theatrical event. Before the performance had even begun, it was impossible to ignore the excitement surrounding the production. I've never seen the Barbican gift shop so busy, with queues of fans eager to get their hands on the show's merchandise. It was clear that Death Note has an extraordinarily devoted following.
More psychological crime thriller than traditional musical, Death Note becomes an engrossing game of cat and mouse, keeping the audience guessing how—or even if—Kira's reign will finally come to an end.
The production itself is incredibly precise. Every aspect of the storytelling, choreography and staging feels carefully measured, creating a disciplined style that reflects the show's Japanese origins. Nothing feels accidental, with every movement appearing deliberate and purposeful.
The show has a great cast with the portrayal of L by Colin Ryan a particular highlight, capturing both the character's extraordinary intelligence and social awkwardness while maintaining an underlying sense of unpredictability and danger. It's an absorbing performance that makes the intellectual duel between L and Light compelling throughout.
The Shinigami are another standout. Apple-obsessed Ryuk (Telly Leung) brings his trademark mischievous energy delivering several of the evening's funniest lines, while Rem is beautifully played by Grace Mouat.
The set makes excellent use of the Barbican's expansive stage. Constantly transforming through moving scenery and striking lighting, it shifts seamlessly between locations while maintaining the show's slick visual identity. The lighting design in particular adds scale and atmosphere, ensuring the production always feels visually dynamic.
The story becomes increasingly gripping as the evening progresses. While the first act spends time establishing the complex rules and introducing the large cast of characters, the second act really finds its momentum. Once you're invested in the characters and understand the world they inhabit, the central battle of wits becomes genuinely compelling.
The score is another strength. Blending musical theatre with contemporary pop influences, several songs are particularly catchy and there are lots of soaring ballads.
Director Stephen Whitson and choreographer Fabian Aloise have done a great job in creating this new world and injecting darkness, suspense, humour and energy into the production.
Anything we'd change
For audiences unfamiliar with the manga or anime, the opening can also feel quite dense as the mythology and rules surrounding the Death Note are established. The patience pays off in the second act, but it does require some concentration early on.
Although the show features numerous deaths and explores weighty themes of justice, morality and power, it didn’t have the emotional impact you might expect. Intellectually, the story is fascinating, but emotionally it remains surprisingly restrained.
Who would enjoy it?
The musical has broad appeal for long-time fans of the manga, those who enjoy new works and large scale musicals.
Who Created It
The musical features music by Frank Wildhorn (Jekyll & Hyde, Bonnie & Clyde), lyrics by Jack Murphy, additional lyrics by Morgan Reilly and a book by Ivan Menchell. It was originally produced by HoriPro in Japan in 2015 and has subsequently been staged across Japan, South Korea and Taiwan, before reaching London in concert form at the Palladium in 2023.
The Barbican production is a newly reimagined version, with a revised script and new songs. It is directed by Stephen Whitson, with choreography by Fabian Aloise, set design by Jon Bausor, costume design by Sachiko Nakahara, lighting by Jen Schriever, sound by Peter Hylenski and video design by Akhila Krishnan. It is produced by HoriPro and Trafalgar Theatre Productions, in association with the Barbican.
Verdict
Whether you're already a devoted fan or completely new to the Death Note universe, this is an ambitious and visually striking production. Its precision, scale and confident theatrical style make it feel unlike anything else currently playing in the West End, while the enthusiastic audience response demonstrates this cult phenomenon continues to resonate around the world.