Review! Death Note At The Barbican Theatre 2026

I have to admit, I went into this production completely blind. I knew nothing about the story, songs or lore behind it. What I did know was that I had heard a lot about it (and a lot of very good things), so I was intrigued to see whether it would live up to the hype. Thankfully, it did.

This is a production on a huge scale. From the staging and design to the talent across the cast, Death Note demands your attention. There is so much happening that you find yourself taking notes throughout, and thankfully, not the death kind!

First premiering in Tokyo in 2015 before travelling across Asia, Death Note was eventually translated into English, with a concert production premiering in London in 2023. Now, it has arrived at the Barbican for its first fully staged English-language production, bringing this hugely popular Japanese story to a new audience while remaining faithful to its manga and anime roots.

Originally a bestselling manga series by Tsugumi Ohba and Takeshi Obata, Death Note follows Light Yagami, a brilliant young man who discovers a supernatural notebook belonging to a Shinigami, or death spirit. The rules are simple: write someone's name in the book and they die. What starts as an opportunity for Light to rid the world of criminals soon spirals into something far more sinister, as he becomes the target of the mysterious detective known only as “L”. And so begins an ultimate battle of intelligence, with both men determined to outsmart the other. At its heart, there is something wonderfully reminiscent of Jean Valjean and Javert in Les Misérables: two men on opposing sides, locked into an obsessive pursuit where neither is willing to back down.

Directed by Stephen Whitson, Death Note bursts onto the Barbican stage, led by Xander Pang as Light Yagami and Colin Ryan as L. The pair make a strong match, driving the central cat-and-mouse game that makes the story so compelling. There is a real chemistry between them, and you become invested in watching them try to outwit one another. They are supported by a 26-strong cast who bring to life an impressive score by Frank Wildhorn (Bonnie & Clyde), with lyrics by Jack Murphy and a book by Emmy-nominated Ivan Menchell.

There is something wonderfully theatrical about the scale of this production. It feels dark, dramatic and, at times, completely bonkers, but never loses sight of the story at its heart. Jon Bausor's set design is a standout, creating a world that shifts between the familiar and the supernatural while making full use of the Barbican's vast stage. Jen Schriever's lighting design works beautifully alongside it, adding atmosphere and tension as we are drawn further into Light and L's increasingly twisted game.

The costumes by Sachiko Nakahara are another important part of the show's visual identity. There is a wonderful contrast between the grounded, contemporary looks of the human characters and the more otherworldly costumes of the Shinigami, immediately distinguishing these two worlds. The attention to detail adds to the manga and anime-inspired aesthetic without feeling like a simple recreation of the source material.

And then there is the music. Frank Wildhorn's score is varied, moving between huge, dramatic numbers and quieter, more introspective moments, reflecting the shifting power dynamic between Light and L. “Hurricane” and “Playing His Game” capture the intensity of their battle of wits, while “When Love Comes” brings a softer side to the story. One of my personal favourites was “I’m Ready”, performed by Stephanie Zaharis as Misa Misa. It is a fun, energetic number that gives Zaharis the opportunity to showcase Misa's larger-than-life personality with plenty of charisma and attitude. The score occasionally reaches an almost operatic scale, fitting a story as unconventional as this one.