We round up the reviews for Tim Luscombe and Matthew Wilder’s new musical, which continues to run in London until the 14th June.
WhatsOnStage: “Visually, it’s a feast with Ceci Calf’s set and Ben Ormerod’s lighting evoking a golden but sinister 18th century Venice, and swishily opulent costumes by Anna Kelsey. It’s wonderful to hear an actual harp as part of Simon Nathan’s orchestrations, played by Jae Alexander’s exquisite, larger-than-usual band which, in tandem with the company of fine voices, often succeeds in making the score sound better than it is.”
Lost in Theatreland: “Stiletto brings moments of heart and satirical brilliance to a story that is rarely explored. An incredible show of musical talent but more of a beautifully costumed concert or song cycle than a complete musical.”
London Pub Theatres Magazine: “The whole show, from the opening bars, is a feast for eye and ear, and, while there may be little surprise in the basic Romeo-and-Juliet-triumph-over-adversity of the plot, the songs are the thing here, and a very very good thing they are, too.”
The Arts Desk: “Quirky, operatic show won’t please everyone, but will delight many.”
All That Dazzles: “Does the show need some work? Yeah. It feels somewhat stuck in a now-outdated view of musicals, dripping with Disney sweetness, ie, let’s do a musical where the plot hinges on racism but never actually talks about racism. But if that’s the downside of this style, the upside is an undoubtedly catchy musical score, glamorous lighting design by Ben Ormerod and heaps of the Wow Factor.”
The Reviews Hub: “There is also lots of really good stuff here and visually, this is one of the grander affairs seen at Charing Cross Theatre with Anna Kelsey’s excellent costumes even bearing front-row scrutiny. Jack Chambers is a very likeable Marco and there is more to find in the character’s sexual openness as well as his political frustrations about sanctioned castration, while Kelly Hampson almost steals the show as the Countess Azurra consuming every song to leave you wanting more. And that’s the challenge for the Stiletto team, there is so much more to prise from the characters in this show and the price they are all willing to pay for fame.”
The Stage: “Ambitious new musical marred by a wayward narrative and confused tone.”
London Theatre 1: “As this is very much an ensemble piece of theatre, it’s difficult to point to a standout performance in a show where everyone in the company does what they do so well. There is a freshness to this production, one of the few London musical openings in recent times to not be an adaptation of a novel and/or a motion picture. I also can’t recall the last truly new musical I saw that had a tune from it in my head on the journey home. Every single lyric could be heard with crystal clarity. With lush orchestrations and a pacy storyline, it’s engaging and thought-provoking in equal measure.”
London Born and Bred: “Stiletto is a poignant reminder of the lengths individuals will go to achieve greatness and the societal structures that both enable and hinder such pursuits. This thoroughly deserves to transfer to a bigger venue.”
West End Best Friend: “And yet, for all its rough edges, Stiletto stays with you. It feels like the beginning of something – not quite a final draft, but an intriguing sketch of a bigger picture. It’s a new musical with something to say, even if it’s still figuring out exactly how to say it.”
Broadway World: “What this really is is a fable, where heroes achieve their dreams, and villains either gain redemption in helping them, or clean comeuppance. Stiletto may not have the twists and turns and intrigue of many of the operas Marco and Gioia might have sung in, but it’s still decent, if predictable, historical fiction escapism.”
The Spy in the Stalls: “this is a luscious musical that intrigues and teases with, rather than pulls, our heartstrings. Full of light and shade, musically as well as visually, it might not penetrate quite as deeply or cleanly as a stiletto, but it certainly gets under your skin.”
London Theatre Reviews: “Ultimately, Stiletto is a promising musical with an intriguing premise, shedding light on a fascinating yet little-known slice of history. While there is much to admire, it leaves one wondering what the production truly wants its audience to take away. As it stands, it’s an ambitious but flawed work that doesn’t quite hit the high notes it aims for.”
TheatreCat: “and if it has rather more soggy heart than hard genius it does maintain enough self-awareness to stick to about two hours including interval. And provide us with a happy ending and a big joyful ensemble curtain-call. People left smiling. So did I.”
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