Review! Who Killed Marilyn at The Emerald Theatre. August 2026

Who Killed Marilyn, starring Pixie Lott, is an ambitious new production that takes a different approach to the story of Marilyn Monroe’s death. Currently running at the Emerald Theatre from 15 August to 29 October 2026, I caught the show during its first week, making it particularly interesting to see a production so early in its run.

Directed by Philip W. McKinley, with a book by Sharleeen Cooper Chen, the production allows Marilyn to guide us through her own story, framing her as someone reclaiming her narrative rather than simply retelling the familiar version of her final days. It explores the theory that she was murdered rather than died by suicide, focusing on her alleged affairs with President John F. Kennedy and his brother, Bobby Kennedy, alongside suggestions of a government cover-up.

I liked the idea of Marilyn reclaiming her own narrative and the production introducing theories surrounding her death that go beyond the conventional account. However, I still felt the show ultimately returned to a familiar portrayal of Marilyn as a victim, as someone whose life was defined by people wanting to use, control and exploit her. There was an opportunity here to go further and give Marilyn greater agency, rather than simply reframing the circumstances of her victimhood. It still relied heavily on the men in her life and how their influence brought her down, rather than truly empowering her.

When I first saw Pixie Lott had been cast, I assumed this might be a musical, but it is actually a play. There is only a brief snippet of Happy Birthday, Mr. President being sung by Lott, which naturally earned a big round of applause, but otherwise this is very much intended as a dramatic performance.

The choice of venue felt fitting. Tucked underneath Waterloo Bridge, the Emerald Theatre is a cabaret venue that positively oozes glamour and Art Deco style. Walking into the space immediately feels like stepping into another era. However, some of the side seats and sofa-style areas are very low, with restricted views and beams in the way, which I didn’t feel was reflected in the ticket price. Sitting to the side, I found myself quite low down as I sank into the sofa, with a beam obscuring some of the action on the right-hand side of the stage.

I felt that the production made good use of the small stage space, with set design by Justin Williams allowing the story to move between locations. The costumes, however, felt more basic. Lott’s Marilyn costume: shimmering white capri pants and an off-the-shoulder white top, subtly reminiscent of her famous white dress was pretty, but she remained in it throughout. I couldn’t help feeling there was an opportunity to do more with the costume design, although perhaps keeping Marilyn in the same outfit was intended to suggest that she was trapped within the image the world had created for her. Everyone else was dressed in suits featuring splatters. I wondered whether these were supposed to represent blood on their hands or have some other symbolic meaning, but it was never clear to me what their purpose was.

Pixie Lott, for me, is one of the production’s highlights. She has an enormous amount of material to learn and carry throughout the show, while portraying one of the most recognisable women in history. Marilyn has such an instantly recognisable voice, mannerisms and image that convincing an audience on stage is no small task. Lott commits fully to the role and gives the production a strong central presence.

The supporting cast also deserve credit for the number of characters they take on. Ben Dilloway is particularly effective as both Marilyn’s husband Arthur Miller and her friend Peter Lawford, bringing something distinct to each role. Mars Sams makes a strong impression as JFK, while Julie Armstrong is particularly effective as Marilyn’s housekeeper and an FBI agent — two very contrasting roles. I thought there was real potential in the individual performances, but a lot of the time, when the characters interacted, the chemistry between them didn’t quite land. Some of the dialogue and interactions felt awkward, which I think was more a reflection of the script than the performances themselves.

I felt the script didn’t quite live up to the strength of the concept. The subject matter is fascinating and there are some great moments, despite some clunky dialogue and awkward interactions. In particular, the sex scene between JFK and Marilyn, was diabolical and unnecessary. A lot of the time, the writing felt weak, clichéd and overly heavy-handed, with moments that veered into the cringey. You can sense the passion and extensive research behind Cooper Chen’s work, but a more subtle approach could have made the material considerably more powerful. I felt the cast worked hard with what they were given.

There is also a huge amount of ground to cover, from Marilyn’s personal relationships and marriages to JFK, Bobby Kennedy, the FBI and the alleged conspiracy surrounding her death. As a result, some characters and ideas are introduced and moved on from before they have enough opportunity to develop. A tighter script with greater nuance could have given both the story and its emotional moments much more impact.

I also found the lighting design distracting. There are some effective moments, but the transitions between scenes sometimes involve very bright, almost blinding lights. This may have worked for certain standout moments, but having them between every scene became tiresome. Rather than enhancing the atmosphere, they occasionally pulled me out of the story and became something I was conscious of in their own right.

Overall, Who Killed Marilyn is an intriguing production with an impressive central performance from Pixie Lott, while the cast’s multi-role performances demonstrate considerable skill. I came away having learned things about Marilyn that I didn’t already know, and the production certainly gave me plenty to think about. However, I felt the opportunity to truly reclaim Marilyn’s narrative was never fully realised, with the script ultimately falling back on many of the familiar ideas of Marilyn as a victim of the men and systems around her. The uneven writing, some awkward interactions and distracting lighting held the production back, although as a new production still early in its run, there is room for it to develop further.

⭐⭐⭐

Reviewed by Emma Knott for The Theatre Flyer

Who Killed Marilyn performs until 29th October 2026.

Emerald London - Emerald London