Review! A Mirrored Monet at Charing Cross Theatre - March 2026

“Step inside the canvas: A Mirrored Monet turns memory into masterpiece.”

At Charing Cross theatre, where outside you can feel the rush of commuters and the rhythm of the city of London rarely pause, inside you are transported to 19 th century France and to the vivid world of Claude Monet in a Mirrored Monet. Audiences are invited to slow down and see the world differently. This musical is inspired by the work of Monet, this production reflects not only the beauty of Impressionism but also the shifting perspectives through which we experience memory, art, and identity. Set against such a transient and bustling backdrop, the piece feels both intimate and expansive, capturing fleeting moments in much the same way Monet captured light on canvas.

Created by Carmel Owen, the show was inspired by seeing Monet’s “A Woman with a Parasol” at the National Gallery of Art in Washington, where Owen immediately sensed music within the image. She has spoken about how the score came instinctively, while shaping the narrative proved more challenging. The final piece, however, is a compelling and engaging work of theatre: an older Claude Monet connects directly with the audience, guiding us through memories of his early career and the influence of his late wife, Camille Doncieux. In doing so, the production not only charts his rise and the struggles he faced, but also sensitively explores Camille’s experience, living with an artist so consumed by his ambition that, in striving to become great, he neglects her which we see the regret in Older Monet looking back.

I loved learning about Monet’s life, particularly the complex relationship with his muse and wife, Camille, who constantly grappled with his devotion to art, her love for him tinged with frustration at how his passion often pulled him away from their family. In the first act, I even wondered whether the show truly needed to be a musical, which feels ironic considering that I mentioned before about the creator saying that the music came so naturally. At times, it seemed the songs risked softening the weight of these serious themes. However, the second act saw the music grow stronger, with one or two particularly catchy numbers. While I wouldn’t say I’d seek out the soundtrack in the way I might for other musicals, the score does complement the show’s artistic flair beautifully. The cast all have amazing voices and sing with genuine passion, which brings an added depth and vibrancy to the storytelling.

The set and costume design by Libby Todd is nothing short of sensational. A series of empty frames structure the stage, onto which different works by Claude Monet are projected at key moments, creating a living gallery that evolves throughout the performance. Beyond these frames, the staging remains deliberately minimal, allowing light and movement to carry much of the storytelling, echoing the shifting, ephemeral qualities of an Impressionist canvas.

The costumes, meanwhile, are steeped in rich French period detail. The gentlemen’s looks are flamboyant and expressive, while the women’s gowns are exquisite, flowing in both grandeur and colour. These designs subtly mirror the artwork itself, with fabrics and hues that seem to ripple like brushstrokes, reinforcing the production’s deep connection to Monet’s visual world.

The cast deliver a beautifully cohesive performance, balancing the piece’s emotional intimacy with moments of humour. Jeff Shankley and Dean John-Wilson share the role of Claude Monet, portraying him at different stages of his life. Shankley, as the older Monet, serves as both narrator and guide, bringing a reflective warmth and quiet gravitas as he leads the audience through his memories, while John-Wilson captures the energy and ambition of Monet’s younger self with conviction. Alongside them, Brooke Bazarian delivers a poignant and emotionally grounded performance as Camille Doncieux, sensitively portraying both devotion and quiet sacrifice. Natalie Day is equally compelling in her dual role as Blanche and Suzanne, bringing versatility and subtle distinction to each character, and further enriching the emotional and humorous texture of the piece. Together, the cast create a layered and engaging portrayal that anchors the production in genuine emotional truth.

Overall, A Mirrored Monet is a visually stunning and emotionally resonant piece of theatre. From the inventive set and costume design to the nuanced performances by the cast, the production brings Monet’s world,and the complexities of his personal life, to vivid life. While the musical elements may not always fully match the weight of the themes, they enhance the show’s energy and artistic sensibility. Ultimately, it is a thoughtful, engaging, and beautifully crafted exploration of art, memory, and love that leaves a lasting impression long after the curtain falls. Catch it at the Charing Cross Theatre from now until 9th May 2026.

⭐⭐⭐⭐

Written by Emma Knott on behalf of The Theatre Flyer

Charing Cross Theatre