Review by Daz Gale
⭐️⭐️⭐️⭐️⭐️
When it comes to shows that I hold dearly, Jack Holden's Cruise is among the most special. A show I reviewed in the infancy of this website, following it from online stream to West End run during the days of social distancing to a glorious soldout return the following year. I reviewed it three times, awarding it five stars on each occasion - so my expectations for his next show were suitably high - some might say impossibly so. When it comes to his talents, however, nothing is impossible and KENREX is as good as theatre gets.
Defining exactly what KENREX is isn’t as simple as most. A hybrid show, it combines true crime with a western, using elements of a podcast and building upon it in a show that falls closer to a play with music playing a big part, though not enough to make it a musical. With a show as unique and refreshing as this, it’s probably best not to define it and just allow it to be its own thing – and in doing so, it thrives.
Set in the small town of Skidmore, Missouri, Ken Rex McElroy has the townsfolk running scared with a reign of terror lasting ten years. Though his crimes include theft, intimidation, abduction and attempted murder, he has never spent a night behind bars and seems to be untouchable. This true story sees the community taking the law into their own hands as they seek justice one way or another. KENREX enjoyed its premiere in Sheffield last year and now makes the next step of its journey for a limited season at Southwark Playhouse Borough. I don’t think this will be the last we see of this show in London, however.
KENREX is an absolute beast of a show. It had me enraptured within its opening moments and left me completely in its clutches through both acts, never waivering and attempting to push past the perceived limitations of perfection. After several press nights of shows that were, shall we say, not warmly received, the buzz at KENREX at this performance was something I had rarely seen. The interval was full of reviewers running up to each other in excitement, not even to check we were feeling the same thing, as there was no doubt. The energy was palpable as we all stood there in amazement at what we had just witnessed, knowing full well we had another fifty minutes to go when act two commenced. This atmosphere and energy cannot be understated and is all thanks to the complete work of art that is KENREX.
So what is it that makes KENREX so special? The short answer is everything. The longer answer will be the entirety of these next few paragraphs, though integral to the success of it is Jack Holden. The co-writer of this as well as its performer, Holden’s gifts seemingly know no limit. He had already proved himself to be both an incredibly accomplished writer and performer with the sensational Cruise, but he has miraculously managed to find a whole new level of genius in KENREX. His writing, along with co-writer Ed Stambollouian, is like nothing else out there – taking their love for true crime and using a podcast as a starting point for this has allowed a creative process that is so rich and layered, it left tears in my eyes for its genius. Transforming the true crime story into a thriller with a multitude of characters played by one man and, dare I say, the best use of sound I have ever seen allows KENREX to be a show like no other – one that feels dangerous and exhilarating throughout.
Ed Stambollouian’s direction is nothing short of inspiring with distinct and different ways to convey the story in the intimate space of Southwark Playhouse Borough. A sparse stage, designed by Anisha Fields, bursts to life with images placed in the minds of the audience through the subtle usage of props. Though the creative process has been full of imagination, this has deliberately been allowed to continue so that the audience can imagine to. Microphones, a ladder and a moveable door all transform in new and surprising ways to make this thriller continually thrilling.
Joshua Pharo’s lighting is equally creative with headlights appearing out of nowhere and subtle yet effective transitions bathing Holden in various glows throughout, with one key moment making him, fittingly, devilishly red. Pharo’s video design also impresses with the whole thing having a cinematic feel, with end credits again blurring the lines of this hybrid show. Holden circles around the stage, jumping energetically or standing still for prolonged periods of intensity, all honed in with Sarah Golding’s faultless movement direction.
As strong as all the production elements are to KENREX, it is in Giles Thomas’ sound design where this show truly falls into a league of its own. To say I have never seen, or rather heard, sound design like this would be a massive understatement. Sound is crucial to KENREX with layers upon layers of sound leading to an atmospheric, almost eerie setting. Characters voices and noises suddenly appear as if out of nowhere around the audience, unsettling at first but amazing throughout. With all the various microphones loitered around, effects are used phenomenally, with an opening phone call setting the bar high. Though predominantly live, Holden interacts with pre-recorded sound, sometimes syncing his voice with it in equally impressive feats. Sometimes you think you have seen and heard it all and then something like KENREX comes along and blows your mind all over again – this is particularly true when it comes to the sound which I can safely say is, without doubt, the greatest I have ever experienced.
With sound, music is also paramount to the story of KENREX with John Patrick Elliot reuniting with Holden after their work on Cruise to once again provide it. With a smattering of musical numbers, Elliot not only gets to play them and perform on various instruments, he also gets to demonstrate the wonderful instrument that is his beautiful singing voice, again blurring the line and also moving KENREX into musical territory, though this is still very much a play with music. Holden also gets a moment to showcase his own singing voice in a show that isn’t so much a feast for the senses but a never-ending supply of treats for them.
Though everything about KENREX is completely flawless, it is Jack Holden that makes this the sensation it is. His performance here is astonishing – like nothing I’ve seen before or expect to other see again. Taking on all the characters, of different ages and genders without missing a beat, the versatility he showcases sets him as one of the greatest talents in this country at the moment. It isn’t just a case of putting on the voices, which he does remarkably well. He also adapts his body, the way he carries himself and contorts his face, It is when he takes on the character of Ken Rex himself that this transformation is most noticeable with Holden miraculously managing to make his face look completely different in a way that is almost creepy if it wasn’t so impressive, with Pharo’s lighting helping matters here.
Holden’s performance here ranks as one of the greatest I have ever witnessed. I didn’t dare take my eyes off him for a single minute during both acts, getting the sense I was watching a true star who is still growing into his powers. He was already remarkable in Cruise – in KENREX, he delivers the kind of performance that deserves to get every best actor award possible. An incredible talent in both his writing and performance and one that is sure to go as far as possible in theatre.
I can’t remember the last time I loved a show quite as much as I did this. From the buzz KENREX had in Sheffield and my own adoration of Holden’s previous show, I expected I might like this but was not prepared for the wave of emotions I felt watching it. Make no mistake, this is theatre at its very best. All killer, no filler – KENREX really can’t be faulted and is an early contender for the best play of the year. Bringing something different to theatre while still feeling accessible to all, unlike some other shows I have seen recently. Those shows really could learn something from KENREX – this is how you do art in theatre. Take my advice and get yourself a ticket to see this while you can still see it in such a small venue as, mark my words, this will transfer to the West End faster than a speeding bullet - at least it will if there's any justice.
KENREX plays at Southwark Playhouse Borough until 15th March. Tickets from https://southwarkplayhouse.co.uk/productions/kenrex/
Photos by Manuel Harlan