A Mirrored Monet is Beautifully Reflective

Carmel Owen’s musical paints Monet in a new light that will make you go home and phone your loved ones

On March 24, Charing Cross Theatre hosted the press night for new musical A Mirrored Monet. Written by composer, lyricist and dramatist Carmel Owen and directed by Christian Durham, this musical interpretation of Monet’s life is an immersive experience for audiences. Charing Cross Theatre is nestled directly underneath Charing Cross station in The Arches on Villiers Street – and will be showing A Mirrored Monet until May 9. The theatre is an intimate affair (with only 265 seats) and a former Victorian music hall, making it the perfect venue for such an immersive show.

Owen’s musical explores the life and relationships of renowned painter Claude Monet, as well as his artistic and political struggles. With several years in development, an earlier version was originally shown at the Edinburgh Festival Fringe in 2023. An eight-piece orchestra accompanies detailed projections that bring the artist’s impressionist work to life on the stage, and every actor appears deeply committed to their role. Reviews since press night have been a mixed bag, with some claiming the depiction of the characters lives to be “simply dull” (Plays to See) while others commend “a place of beauty and deep feeling” (The Guardian.) It is clear that a lot of ambition has been put into this project, and if that leads to some plot holes in favour of vibrant scenes and passionate actors, then so be it!

Jeff Shankley, Dean John-Wilson, In A Mirrored Monet - Photography By Pamela Raith

The play features two versions of Monet: his older self (Jeff Shankley) struggling with cataracts to complete the famous Water Lilies, and his younger self (Dean John-Wilson) attempting to pioneer a new era of art. Monet is famous for his ambition and talent, but interestingly this show chooses to focus on his regret. It takes us through his life as you would expect, but Shankley’s elder Monet remains on the stage for most of the performances. Through his facial expressions, his attempts to interact with his memories and his solo scenes where he laments to the audience, it is made clear that there was an intense personal cost to such ambition and passion. The cost was not only paid my Monet but by his loved ones as well – namely his first wife Camille (Brooke Bazarian.)

Brooke Bazarian In A Mirrored Monet - Photography By Pamela Raith

Inspired by correspondence between Monet and his peers, the impressive set design (courtesy of Libby Todd) takes audiences through the regular haunts of the artist group: from cafes to studios to salons in ‘Belle Epoque’ Paris. The undeniable genius of the set comes in the form of dozens of canvases protruding from the walls around the stage. Sometimes covered by an entire impressionist scene at once, sometimes used individually to mimic a studio with multiple paintings up, the projections (Matt Powell) and use of light (Jodie Underwood) onto these canvases makes the show magical and incredibly emotive. This is also surely a nod to Monet’s own obsession with light, and the way the actors inhabit this set is the cherry on top.

The cast move around the intricate stage with ease as they sing, dance and bring Monet’s memories to life. Comedic at times, political at others, the dialogue and songs are handled with such care that it feels as though you are really witnessing something special. Ritesh Manugula’s Bazille is endearingly hopeful, Aaron Pryce-Lewis’ Manet understandably cautious, and Bazarian’s Camille almost steals the show. Shankley and John-Wilson are incredible in their portrayal of older and younger Monet – thorough understanding and care shining through both performances. Elder Monet longs for his younger life, at times trying to inhabit his own memories, and although clearly old and struggling there is a striking clarity to his regret and loss. Of course art and his impact on the art world is explored, but this take on his life as one defined not only by passion but also by love and connection (and the loss of such) makes it both moving and unexpectedly relatable.

Dean John-Wilson, Brooke Bazarian, Jeff Shankley, In A Mirrored Monet - Photography By Pamela Raith

There must be countless portrayals of Monet’s life by now, but this touching musical can make you feel almost as though you were there, just slightly out of reach. Much like the artist’s paintings it is a pleasure to witness, and the musical aspect can be a welcome reprieve from the more somber moments.

Altogether it offers a balanced and engaging experience, and although not exactly Broadway material yet it is an honourable attempt at portraying the cost of such singleminded ambition and rare talent. This show is wonderfully human, and a welcome reminder to not be so wrapped up in ourselves and our work that we neglect our closest supporters and friends. Monet would surely support such a message, as human connection and understanding are catalysts for the kind of peace his Water Lilies portray.

Tickets are available now to see A Mirrored Monet at Charing Cross Theatre until May 9.

Dean John-Wilson, Sam Peggs, Brooke Bazarian, Ritesh Mangula, In A Mirrored Monet - Photo By Pamela Raith

Article By Shona Kelly