By Jude
Step into the world of the castrati in 18th-century Italy with Stiletto: A New Musical at Charing Cross Theatre.
The musical follows Marco (Jack Chambers), a young performer castrated at a tender age to preserve his angelic soprano voice, enabling him to perform female roles in the opera. While many in his position fade into obscurity—like Marco’s mute best friend Niccolo (Connor Wood)—Marco’s fate is different. Thanks to his tyrant tutor, Faustino Conti (Greg Barnett), Marco catches the attention of Azurra D’Orozco (Kelly Hampson), a Contessa and wife of Pietro D’Orozco (Douglas Hansell), a scheming Lord tangled in an affair with his right-hand man, Luigi (Sam Barrett).
As Marco’s star rises, a fateful encounter with Gioia (Jewelle Hutchinson), a young Black woman who shares the same dream, changes everything. Faced with barriers, neither Marco nor Gioia is willing to accept limitations. Together, they fight to rewrite their destinies and claim the roles they were never meant to have.
The music, composed by Matthew Wilder—best known for his work on Disney’s Mulan—was highly anticipated. From the sneak peek at the press launch, the opening number ‘Every Day of Your Life/Opening’ has been impossible to forget. Leaving the theatre, the desire for a cast recording was undeniable, and many shared that sentiment. The score blends operatic melodies, soaring ballads, passionate solos, and powerful ensemble numbers, creating a rich and immersive experience. It’s hard to pin down the musical style due to its variation, but it keeps the story feeling fresh and exciting.
The combination of Ben Ormerod’s angelic lighting design, Ceci Calf’s stunning multi-level, dynamic set, and exquisite costume design (special shout out to the mask and cape costume worn by Jennie Jacobs as Mezzo Soprano) by Anna Kelsey perfectly transports everyone to 18th-century Italy. The twelve-piece orchestra provided a lush, atmospheric sound, and it was extra special to see some musicians on stage atop the balcony.
Jack Chambers charmed as the young hero Marco. It’s refreshing to see a male lead who knows his worth but is also willing to step aside and elevate others in his success. Jewelle Hutchinson’s performance as Gioia was relatable and deeply moving.
A standout performance came from Kelly Hampson as the Contessa, perfectly encapsulating a woman scorned and mistreated by her husband, yet refusing to let that diminish her power or pursuit of justice. Her sultry rendition of ‘Amore Mio’ was a highlight of the night. Sam Barrett also impressed as Luigi, bringing energy and depth to a man scorned in ‘Go Along.’ Douglas Hansell’s portrayal of the villainous Pietro was a joy to watch, even with his wickedness.
Greg Barnett delivered a captivating portrayal of Faustino Conti, a once-powerful figure slowly unraveling. The transformation from dominance to brokenness was deeply emotional, making for an unforgettable performance. Connor Wood as Niccolo gave a compelling portrayal of Marco’s mute best friend. The ability to convey so much emotion and conversation through movement alone is a testament to his talent, but he gets to show off all his talent and shine in ‘No Words.’
For a new musical, the story is strong and moves at a swift pace, keeping the audience engaged, and the music is enchanting. This is the best new musical I’ve seen so far, and it will certainly not be my only visit to 18th-century Italy.
⭐️⭐️⭐️⭐️
Sounds and Stage
