It’s 1981 in rural Missouri. A wife’s frantic 911 call reports her husband’s murder in broad daylight, witnessed by 50 townspeople. Yet when the case goes to trial, no one's seen a thing.
The murder in question is of Ken Rex McElroy, an intriguingly creepy and obviously troubled bully of the small town of Skidmore, and protagonist of Jack Holden and Ed Stambollouian's exhilarating true crime musical thriller, which keeps you on the edge of your seat from lights up to blackout.
Ken is the menace of Skidmore, which he terrorises with his guns, dogs, and general disturbing demeanour. Protected by Skidmore’s distance from the nearest police station and his undefeated lawyer, McFadden, in terms of the law, Ken seems untouchable. But when his rage escalates to shooting a local resident, the townspeople reach their breaking point. They take matters into their own hands, setting the stage for a chilling tale of justice, revenge, and the collective power of a community pushed too far.
Holden and Stambollouian’s script states that the play can be performed by a cast of any size, but that doesn’t stop Holden from playing all 12 characters himself with precision, vigour, and an energy so delicious you often forget there’s just him onstage. With direction by Stambollouian, this creative pair prove to be ones to watch in innovative theatre-making. This is next level stuff.
Tastefully scored by John Patrick Elliott who performs live on stage, the music adds a profound layer of Midwest Americana. Elliott’s southern-style guitar, loop-pedalled banjos, and hauntingly epic melodies wrap around Holden’s performance, underscoring each breath between chapters. The soundtrack feels both cinematic and rooted in the heart of rural America, enhancing the tale’s dark and gritty atmosphere.
While the stripped-down set (designed by Anisha Fields) leaves ample space for Holden’s masterful storytelling, it also impresses with its thoughtful details. Microphones are strategically placed to capture the layered sound design by Giles Thomas and signify character changes, and a prominent American flag on a grand golden stand underscores the story’s cultural weight. Harsh projections appear on a rear stage to introduce new chapters and run film-style credits at the end, creating an artistic cinematography that’s unexpectedly powerful in a single-actor production.
The immersion is further deepened by Thomas’ sound design, which places murmurs, cheers, and whispers behind the audience, engulfing us in the oppressive heat and tension of Midwest America. The carefully engineered soundscape is so vivid that the town of Skidmore feels eerily alive, pressing in on Holden from all sides.
Holden’s tour-de-force performance, shifting characters every five seconds with seamless speed and clarity, is almost dizzying to watch. His voice-changes, mannerisms, and quirks for each character hold the audience in thrall. Though the script allows for a cast of any size, Holden’s solo portrayal of all 12 characters feels definitive; the chaotic brilliance of one actor embodying the entire town of Skidmore feels like an integral part of the play's magic.
One lingering question remains, however: how did Ken afford his high-powered lawyer, McFadden? This added detail could have enriched the narrative, deepening our understanding of Ken's character and giving us everything we need to buy into the world. Nevertheless, Kenrex is a crazily good piece of theatre - a gritty, ghostly immersion into small-town justice, embodied by a cast of one and a soundscape and score that’s nothing short of drama.
KenRex runs at the Sheffield Playhouse until 16th November. For more information and tickets, you can follow the link here.
⭐️⭐️⭐️⭐️⭐️ (5*)
Gifted tickets in return for an honest review | photography by Manuel Harlan
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