Little Lark of London

“What does justice look like here?”

After multiple sold-out runs in the UK, the Olivier Award-winning KENREX has arrived in New York City. The show, co-written by actor Jack Holden and Ed Stambollouian (who also directs), with music by John Patrick Elliott, tells the story of the murder of Kenneth “Ken” Rex McElroy in Skidmore, a small town in rural Missouri. Holden and Elliott walk onstage as an onstage tape rolls, introducing audiences to Federal Agent Annette Parker (Kelly Burke) and Prosecuting Attorney David Baird (James Sobol Kelly) as they begin the official record on what happened on July 10th, 1981.

But, suddenly, things change. Holden takes over as the voice of Baird, and soon pulls us into the world of Skidmore, taking on the roles of dozens of residents of the town as Elliott accompanies with a sonic landscape of Midwest America-based music. The show follows the style of a true-crime podcast, including parts and chapters with intriguing names like “The Bully” and “The Girl.” Just like listening to a podcast, much is left to the audience’s imagination, as Anisha Fields has created a simple set that relies on four main pieces – a door on wheels, a set of stairs, glowing truck headlights, and microphones to create the world of Skidmore. But, with the excellent script and Holden’s incredible ability to transform into characters within seconds, one can easily see the small town and its inhabitants in their minds, from “Woodstock original” bar landlady Ida Smith to the menacing Ken Rex himself. 

With the current trend of one-person shows, KENREX makes all others pale in comparison.

Indeed, Holden’s character transformations are a wonder to behold in themselves. Even if a character only has one or two lines, there is enough life  put into them by Holden to make them easily identifiable, whether it’s the way he changes his voice or shifts his stance. The segment titled in the show’s soundtrack “Conjuring Ken” is a perfect example of this, as the audience literally watches Holden’s interpretation of Baird become seemingly possessed by McElroy, aided by Elliot’s musicianship – not in the background, but in tandem with the actor.

Some of the most powerful moments of the show are contrasts of quiet and chaos. “Coyote Catch Me If You Can” is a highlight of the performance, allowing both Holden and Elliot to let loose in a fury-fueled bender of flashing lights and blaring music, which have been brought to life by the brilliance of Lighting/Video Designer Joshua Phrao and Sound Designer Giles Thomas. Holden does an incredible job of portraying both sides of the fight, the cowering townspeople hiding behind glowing doors versus the hunter tracking down his prey, guided by Sarah Golding’s fantastic choices as Movement Director.

But, as previously mentioned, it’s not just the outbursts of chaos that make KENREX such an attention-grabbing show. McElroy is at his creepiest when it comes to his first meeting with his future wife, fourteen-year-old Trena McCloud, slinking up the stairs as she sings “The Star Spangled Banner” at Skidmore’s Punkin Show. When other shows might have chosen to celebrate the murder of McElroy, Holden and Stambollouian instead choose to question these feelings, using both the justice-obsessed Baird and the heartbroken McCloud to reflect the actions of the townspeople back onto themselves. 

Ultimately, KENREX is a simply unmissable piece of theatre that asks an essential question, especially in today’s world – what exactly does justice mean? Holden, Stambollouian, and Elliott have combined forces to create a masterpiece of storytelling, proving that one doesn’t need spectacle to be a success.

KENREX runs until 27 June at the Lucille Lortel Theatre. For more information and to purchase tickets, click here.