Review: STILETTO, Charing Cross Theatre

Photo credit: Johan Persson

Stiletto isn’t your typical period piece. It arrives on the London stage dressed in powdered wigs and brocade but beneath the surface, it’s wrestling with surprisingly modern questions about identity, power, who gets to be heard, and at what cost, and there’s something thrilling about a show that dares to tackle so much. But with great ambition comes the risk of losing clarity, and Stiletto, while striking in many ways, doesn’t always manage to find its focus.

Set in the operatic world of 18th-century Venice, the story follows Marco (Jack Chambers), a young castrato with a voice that opens doors but whose life is all about sacrifice. His world collides with Gioia (Jewelle Hutchinson), the daughter of an African slave with musical talent of her own – fierce, smart, and unwilling to be invisible.

There’s no denying the visual flair here; the production is stylish and atmospheric, with candlelit backdrops, lavish costumes by Anna Kelsey, and a strong sense of place. You feel the decadence and the danger of the world these characters move through, and there’s certainly elegance in the staging.

Musically, Matthew Wilder’s score blends the past and present in inventive ways, and there are moments when it soars, with some songs lingering long after the curtain call. Plus, the performances are sincere – there’s quiet chemistry between Marco and Gioia; it’s not explosive, but it is real. And the ensemble works hard, vocally and physically, to bring this Venetian world to life.

If there’s a wobble, it’s in the storytelling. The script wants to say a lot about race, gender, love, art, religion, and it doesn’t always know which thread to pull hardest. Some side plots get lost in the crowd, and a few scenes feel like they could have easily been cut (or at least cut down). There’s also a sense that the direction plays it a little too safe in places, which is a shame for a show that clearly wants to push boundaries.

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.

Stiletto is ambitious, atmospheric, and admirably different. It doesn’t always stick the landing, but it’s full of intent and intrigue, and with sharper focus and a bit of refinement, it could be a standout. For now, it’s a stylish work-in-progress worth watching.

*** Three stars

Reviewed by: Lisamarie Lamb

Stiletto plays at London’s Charing Cross Theatre until 14 June, with tickets available here.