I am a lover of Impressionist art, so I was delighted to be asked to review the new musical A Mirrored Monet. From the moment the lights rose, it was clear that this production is built on a deep affection for Monet’s work and the world he inhabited. What makes the show particularly memorable is the wonderful new musical score by Carmel Owen and the way Monet’s paintings are woven into the fabric of the performance—not just as decorative backdrops, but as emotional anchors that guide the storytelling. The first iteration of A Mirrored Monet appeared at the Edinburgh Fringe in 2023, and it has now found a new home at the Charing Cross Theatre in its latest incarnation, directed with sensitivity and imagination by Christian Durham.
The show traces Monet’s early years as a struggling artist, as told by his older self in 1916, reflecting on his time before the fame and acclaim that would eventually define him. He is joined on stage by fellow artists Renoir, Bazille, and Manet—friends, rivals, confidants, and fellow dreamers. Their camaraderie forms the backbone of the narrative, offering glimpses into the artistic rebellion and restless ambition that shaped the Impressionist movement. At its heart, though, the piece is a love story, steeped in longing and regret, bringing Monet’s first wife, Camille, into sharp focus. Her presence becomes the emotional pulse of the show, a reminder of the sacrifices and sorrows that often sit behind great art and genius. The framing device is particularly effective: Monet, now an older and celebrated artist, reflects on his life as he symbolically passes the baton to the young Henri Matisse. Jeff Shankley, as the elder Monet, delivers a moving and dignified performance. He carries the weight of a lifetime of memories, playing the role with a quiet sadness that never feels overstated. His interactions with his younger self—played by Dean John-Wilson—are some of the most compelling moments in the production. Both actors share an impressive stage pedigree, and what struck me most was how seamlessly they mirrored each other. Their shared mannerisms, vocal inflections, and emotional rhythms made it remarkably easy to believe they were two versions of the same man, separated only by time and experience.
Camille’s arrival is a moment of pure theatrical beauty. Brooke Bazarian steps into the role with luminous grace, fully embodying the woman immortalised in Monet’s paintings. Her resemblance to the Camille of Monet’s canvases is striking, but it is her voice and presence that truly captivate. She lights up the stage with a warmth and sincerity that make it instantly clear why Monet was so besotted with her. Her scenes with both of the Monets are tender, hopeful, and tinged with the inevitability of loss.
The supporting cast—John Addison, Natalie Day, Ritesh Manugula, Aaron Pryce-Lewis, Sam Peggs, and Steven Serlin—bring depth and colour to the world around Monet. Each performer has an impressive list of previous credits, and together they create a rich ensemble sound. When the five main men come together to sing “Art is Life,” the result is a beautifully balanced and resonant moment, each voice complementing the others and adding vibrancy to the score. “Life Is Just Beginning,” sung by Camille and both Monets, is another highlight—joyful, hopeful, and emotionally stirring. Yet nothing quite matches the heartbreak of “I’m Not Ready,” a song that lingers long after the final note fades.
Visually, the production is a feast. Libby Todd’s costumes and set design are both beautiful and authentic, grounding the story in its historical moment. Matt Powell’s video designs elevate the show even further, allowing Monet’s paintings to bloom across the stage in ways that feel both respectful and inventive. The final scenes, particularly during “Camille” and “The Beauty of Life,” bring Monet’s work to the forefront with breathtaking effect. It’s a clever and deeply moving idea—one that Carmel Owen first imagined after seeing Monet’s Woman with a Parasol at the National Gallery of Art in Washington—and it pays off wonderfully here.
A Mirrored Monet is a thoughtful, heartfelt piece of theatre that blends music, art, and biography into a cohesive and emotionally resonant whole. For anyone who loves Monet, Impressionism, or simply a beautifully told story, this production offers something truly special.
The show runs from 14th March – 9th May.
Reviewer: Penny Curran
On 24th March 2026
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