Having celebrated previously successful runs, ‘Jack’ (the musical) arrives in London with a gothic-electro music fusion bringing the vibes of Victorian London crashing into the modern day. This is an intriguing and exciting concept, based around the story of “Jack The Ripper”, and within Sahar Malaika’s storytelling there are moments of genuine promise, but the execution of this production ultimately falls well short of the standard expected on a professional stage.
At its core, the ‘Jack’ suffers from a lack of cohesive artistic vision from Co-Directors Rosie Sutton and Sasha Ranawake. Casting choices feel under-baked and poorly considered, with very young performers presented to the world without a clear or consistent aesthetic. Facial jewellery, modern bleached hair highlights, modern makeup and visible nail polish, as well as an unfocused mix of historical periods in the costume design (Elodie Yip) create a visual language that feels confused rather than intentional. Instead of supporting historical character development and storytelling, these choices undermine the production’s credibility.
Performance quality is uneven throughout. There are flashes of strength, most notably Cameron Maiklem as Aloysius Howell, who brings welcome focus and vocal commitment, and Sorcha Ní Mheachairas Nell, who offers steady presence in an otherwise scattered ensemble. Nicole Palka also stands out vocally as Mary Jane Kelly, delivering some of the score’s stronger musical moments with confidence and control. Unfortunately, these highlights are exceptions. Many of the performers lack the vocal consistency, dramatic precision and stage authority required for a London production, resulting in scenes that feel tentative and underpowered. In places, performances appeared shaped more as individual student showcases than as parts of a unified ensemble, resulting in moments where cohesion and narrative flow were severely compromised and somewhat chaotic.
The most significant issue, however, lies in the technical execution. The sound design is particularly poor, with loud, overpowering backing tracks that frequently drown out the singers. Musical numbers often feel forced or thrust into the narrative rather than emerging organically, suggesting insufficient musical preparation and balance by Musical, Sam Phillips. Lighting design (Hannah Wei) is similarly erratic, veering between harsh brightness and apparent inattention, raising questions about cueing and control.
Produced by Offie Award-winning Musketeer Productions, a company of students and recent graduates, the amateur nature of the work is unmistakable. While there is clear enthusiasm and ambition on display, this production feels more like a training exercise than a finished professional piece. That said, with stronger direction, tighter technical discipline and more thoughtful casting and design choices, this musical could be significantly improved. The concept has merit and some of the songs are genuinely engaging. As it stands, however, it remains far below its potential.
‘Jack’ continues at The Courtyard Theatre until 11th January and tickets are available here https://thecourtyard.org.uk
Reviewer: Alan Stuart Malin
Reviewed: 5th January 2026
North West End UK Rating: