Blending Appalachian folklore, supernatural fantasy and an unlikely love story, Dark of the Moon is an ambitious musical that doesn’t always know quite what it wants to be. At times it embraces the spirit of a tongue-in-cheek rock opera, while at others it reaches for the emotional sincerity of a heartfelt folk romance. Although that tonal balancing act isn’t always successful, there is plenty to admire in this imaginative revival.
Inspired by the folk ballad Barbara Allen, the story follows the forbidden relationship between the Witch Boy John and Barbara Allen, exploring love, prejudice and the price of belonging. Echoes of The Crucible and even Twilight drift through the production, creating an atmospheric world where superstition and suspicion are never far from the surface.
Musically, the show is at its strongest. The score contains several memorable songs, with the folk and bluegrass numbers proving particularly effective. One of the production’s cleverest ideas is assigning contrasting musical styles to different communities, allowing the score itself to become part of the storytelling and there are some really clever, subtle touches within that concept. The beautiful closing duet between Barbara and John provides a genuinely moving finale and ensures the production finishes on an emotional high.
Libby Todd’s rustic set design evokes the American South with warmth and authenticity, creating an immersive backdrop for the action. My only technical criticism was that the excellent band occasionally overpowered the performers, making some lyrics difficult to catch.
Lauren Jones delivers a compelling performance as Barbara Allen, combining warmth, vulnerability and a beautifully expressive singing voice. Josie Benson is outstanding as the Conjur Woman, throwing herself wholeheartedly into what could easily have become a rather absurd character. Her total commitment and commanding vocals make the role utterly convincing. Martin Callaghan makes a memorable impression as the Preacher, bringing authority, authenticity and a sizeable dose of the ick to the character.
With a couple of principal cast members absent, covers Samuel Murray (John) and Will Foggin (Marvin Hudgens) both stepped confidently into their roles and acquitted themselves admirably. Murray, in particular, clearly had plenty of support in the audience, which added a rather lovely atmosphere to the evening. The wider company provides strong support throughout.
While Dark of the Moon occasionally struggles to reconcile its contrasting styles, its imaginative score, engaging performances and atmospheric staging make it an enjoyable evening of musical theatre. It may not fully resolve the tension between its playful supernatural elements and its sincere central romance, but there’s enough heart, originality and musical quality here to make the journey worthwhile.
Dark of the Moon plays at the Charing Cross Theatre, London, until 8th August 2026.
UTS Rating: 
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