REVIEW: KENREX – Playhouse – Sheffield

Rating

KENREX, a compelling new piece by Jack Holden and Ed Stambollouian, tells the shocking, true-crime-inspired tale of a community forced to take the law into its own hands. Set in the 1970s and 80s, in the quiet town of Skidmore, Missouri, the play follows Ken Rex McElroy, a man who has terrorised his hometown for a decade. Known for his thefts, intimidation, violent assaults, and even attempted murder, Ken’s unchecked rampage is made possible by a corrupt justice system and the cunning strategies of his lawyer, McFadin. KENREX unfolds as a high-stakes story, driven by a foot-stomping, live Americana soundtrack that brings Skidmore’s struggle to life in an unforgettable theatrical experience.

At the centre of this one-man show is Jack Holden, whose performance is a masterclass in physicality, stamina, and versatility. Holden commands the stage as he brings an entire cast of characters to life, each with unique mannerisms and physical traits. His portrayal of Ken Rex McElroy is chilling and visceral, embodying the palpable menace of a man who believes himself untouchable. But Holden also deftly slips into the roles of other key figures in the story, including McElroy’s slick lawyer McFadin, whose wit and sharpness add layers to the narrative. Each character feels distinct, not only through voice but through Holden’s meticulous attention to their physicality. For instance, McFadin’s poised gestures contrast starkly with McElroy’s brooding posture, and these subtle physical shifts make each transition seamless yet striking. Holden’s energy never falters, maintaining an intensity that keeps the audience on the edge of their seats.

Adding to the intensity of Holden’s performance is the live musical score, performed onstage by John Patrick Elliott. Far more than background music, Elliott’s Americana soundtrack becomes a character in its own right, imbuing the play with rhythm, urgency, and tension. His impressive array of instruments and haunting vocals bring a rawness and authenticity to the show, capturing the gritty essence of a small American town pushed to its limits. The music feels omnipresent, a steady undercurrent that both drives the action and punctuates the moments of silence. Elliott’s seamless transitions between various instruments and vocalisations create a continuous flow that matches the pace of the play, reinforcing the feeling of being pulled into the relentless pulse of Skidmore’s story.

The technical aspects of KENREX are equally praiseworthy, with each element supporting the storytelling in a powerful, cohesive way. Joshua Pharo’s lighting and video design are vital to the production’s success. The lighting is used with extraordinary effectiveness, not only in delineating scene and character changes but also in setting a consistent and atmospheric tone. Pharo uses lighting to underscore the emotional beats of each moment, with sharp contrasts and shadows that reflect the story’s moral complexities. The lighting design is innovative and unpredictable, continually surprising the audience with new ways of defining space and character on stage. This is particularly impactful in moments where Holden shifts from one character to another; the lighting changes serve as visual cues that guide the audience through these transitions, amplifying the drama without ever feeling forced or intrusive. The lightning feels deeply atmospheric and purposeful; dramatic and bold, it stands out as helping to be visually distinct, defined and daring.

The show’s sound design by Giles Thomas further heightens the atmosphere, adding subtle layers of tension and depth to the performance. The soundscapes are immersive, capturing the eerie silence of a small town under siege, punctuated by the sudden bursts of violence and action that mark Ken McElroy’s reign of terror. Thomas’s sound design complements Elliott’s music perfectly, merging ambient sounds with live music to create a cohesive auditory experience that feels as real as it does theatrical.

Sarah Golding’s movement direction deserves special mention as well. Her work with Holden’s physicality allows each character to carve out a unique space on stage. Every movement feels purposeful, adding weight to the storytelling. Holden’s ability to embody so many characters without losing the flow of the story speaks to the strength of Golding’s direction, which ensures that each gesture, posture, and step is imbued with meaning. There is excellent use of space, set and minimal props that continuously reinvents the stage for new scenes.

Anisha Fields’ set design adds the final polish to the show. The set is minimal yet evocative, enabling Holden’s performance to fill the space without overwhelming the audience. The design choices allow the lighting and music to take centre stage, creating an immersive setting that relies more on suggestion and atmosphere than on elaborate props. This stripped-back approach gives Holden the freedom to bring Skidmore to life.

The writing in KENREX is equally compelling. Holden and Stambollouian’s script crafts a vivid portrayal of both the man at the centre of the terror and the townspeople who refuse to let him continue. The dialogue is sharp and engaging, with characters like McFadin coming to life through both the writing and Holden’s skilled portrayal. Although the play uses some heavy exposition, especially around the ensemble of characters in the town, these moments feel necessary to establish the stakes and deliver a profound payoff later in the show. By the end, the audience is fully invested in the fate of Skidmore and its people, making the climax all the more powerful. The writing balances intensity with moments of dark humour, creating a narrative that is as emotionally engaging as it is thrilling.

In conclusion, KENREX is a stunning piece of theatre that excels on every level. Jack Holden’s virtuosic performance, coupled with John Patrick Elliott’s evocative live music, crafts a deeply immersive experience that grips the audience from start to finish. The innovative use of lighting, sound, and movement adds to the sense of place and heightens the tension, creating a haunting atmosphere. This is storytelling at its finest—a potent mix of true crime and Western that captures the essence of community and justice. KENREX is not just a play; it’s a visceral journey into the heart of a small town’s darkest hour, and it is absolutely unmissable.

KENREX plays at the Sheffield Playhouse until Saturday 16th November.

Photography throughout from Manuel Harlan.


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