Review: Stiletto at Charing Cross Theatre

1 Apr

⭐⭐⭐ (Three Stars)

Stiletto, a new musical running now at Charing Cross Theatre, transports audiences to 18th Century Venice, where the city is Europe’s opera capital. The story follows Marco, a young man who, as a child, was castrated to preserve his singing voice for female opera roles. His talent catches the eye of the powerful Contessa Azzurra, but his life takes a turn when he falls in love with Gioia, the daughter of an African slave, who possesses an incredible voice but due to her circumstances cannot gain employment in the opera. When Gioia is accused of a crime she did not commit, Marco must decide whether to risk everything for the woman he loves.

While Stiletto is ambitious and visually striking, it undeniably feels like a production still in development. The music by Matthew Wilder (the three-time Grammy nominee and Oscar and Golden Globe nominee for his work on Disney’s Mulan) is well-performed by the talented cast and orchestra but ultimately lacks the memorability and punch one would hope for.

Ceci Calf's set design is simple yet effective, evoking the opulence and intrigue of Venice without overcomplicating the relatively small space at Charing Cross Theatre. In fact, there is much to appreciate in the visual aesthetics, particularly Anna Kelsey’s stunning costume designs. The 18th Century Venetian garb is striking and evocative, effectively complementing the period setting.

The production's ensemble, while large, feels under-utilised in the show. The musical’s pacing also suffers at times due to the large number of lead and featured characters, which results in a sense that not everyone’s journey is as fully explored or satisfying as it could be. Stiletto is ambitious in the number of themes it attempts to incorporate, such as racism, religion and class, but unfortunately this ambition comes at the cost of the development of each theme over the piece.

In the lead role of Marco, Jack Chambers impresses with his vocal talent and vulnerability, delivering a nuanced portrayal of a man caught between duty, love, and sacrifice. Jewelle Hutchinson, as Gioia, brings a beautiful voice and quiet strength to the role. Although her character is central to the plot, her stage time feels rather limited, and I couldn’'t help but wish for more of her presence.

Overall, Stiletto shows promise but feels like it is still finding its footing. With a little more work on its pacing, character arcs, and musical identity, it could become a more memorable and compelling piece.

Stiletto runs at Charing Cross Theatre until 14th June 2025.