Review of ‘KENREX’: “Angry-mob narrative secures a happy crowd”

Following its initial success at the Southwark Playhouse, Jack Holden’s true-crime show returns to the London scene for a limited run at The Other Palace. Guillermo Nazara shares his views on the show to let us know if this murderous act is bound to make a killing.

Snitches get stitches. In the end, however, bullies get what they deserve. Jack Holden is not the first to talk about the real-life story of Ken Rex McElroy, a con man who escaped legal punishment for his heinous crimes over 20 times. Through many decades, he had terrorised every local in the otherwise peaceful Skidmore. From arson to child abuse and rape to even manslaughter. What he’d done wasn’t relevant — his lawyer would always let him get away with it. That is, until the day the townsmen felt they had had enough and decided to take justice into their own hands.

You can’t blame them for what they did. Nor can you condemn their choice to stay silent. As for 2025, the identity of McElroy’s fatal shooter remains unknown. There were around 40 witnesses on site, though. It’s one of the oldest premises in anyone’s book — the sense of community prevails over the threats of its oppressor. The Spanish Golden Age called it Fuente Ovejuna. Now, Holden has rebooted it in a true-crime series wrap. Same concept, same conclusion. Yet a different, somehow differentiated voice.

An 80s tape recorder starts to play as two men stand motionless onstage. The eerie calmness of a police interrogation inundates the space. Seconds pass, as Holden begins to lip-sync the conversation, until the words that first came out of the machine become his live speech. It doesn’t matter who he’s playing — rich or poor, young or old, man or woman. He will be each and every single character. And for the entire performance, he will deliver with absolute command.

John Patrick Elliot’s rough guitar chords burst as this brazen story of fear, intimidation, and revenge explodes onstage. Holden and Stambollouian’s novelesque script creates a compelling pulse. The play is sectioned into several chapters, which cleverly provides a touch of uniqueness while complying with a traditional narrative structure.

We commence with The Town, a blatant act of exposition whose indiscretion doesn’t compromise its effectiveness. Holden’s first-person recounting shifts as he effortlessly metamorphoses into Skidmore’s simple but memorable villagers. His acting abilities are genuinely uncanny — ample register, impeccable execution, and a galvanising energy that makes every aspect of his rendition delightfully engaging.

The polish in both the material and its interpretation endures for the most part. Holden and Stambollouian’s writing displays knowledge and instinct for their craft. No element is placed without reason. Yet, we can notice the viscerality imbuing its style. The result is a gripping and highly enjoyable piece of storytelling, where suspense, entertainment, and political discourse work in perfect alliance.

The show unapologetically exposes the flaws of the legal system. Some may find that layer slightly preachy, but the ironic nature of the events speaks for itself — and subsequently takes over. The script masterfully dictates the viewers’ emotions. Whoever must be rooted for will be rooted for. And whoever must be hated will be disdained. It’s not like Ken Rex’s legacy makes it too difficult, but the text’s ability to make us connect and invest ourselves fully into the action shouldn’t be deprived of praise.

Devised as a play with songs, Elliot’s underscore is thematically rich and narratively efficient. There’s no harmonic complexity, but there’s a vibrant palette of electronic and acoustic sounds that lead to a textured and immensely compelling composition. It accentuates the dramatic tone in every scene with extraordinary deftness. And it contributes to the overall spectacularity of the piece.

Anisha Field’s design is uncomplicated but intelligent. An unembellished wooden wall stands behind an empty green stage. A few microphone stands, a sound booth with a folded backdrop curtain behind it, a staircase, and a screen concoct the rest of the set. It’s not much, but at the same time, it’s everything. The dynamism it conveys throughout the entire rendition is as exquisite as it is pulsating. And Joshua Pharo’s deeply atmospheric lighting secures such quality while simultaneously boosting it.

There’s a core factor missing, nonetheless. And both returners and newcomers are likely to spot it. The sense of intimacy the material calls for is eroded, if not erased, by its new venue’s configuration. The play is not a confession, but it comes across as one in terms of mood. It requires that level of proximity in order to work to its full potential. Sadly, The Other Palace’s steep outline creates a feeling of distance and protection that completely wipes away the edge and menace that the Southwark Playhouse organically exudes.

It’s still an arresting play in any case. It managed to have audiences in its pocket during its first London iteration, and its comeback will easily gather similar success. It’s a fascinating plot presented in a highly artistic and, to some extent, original way. The outcome may not be haunting, but its appeal is very much lasting. It unearths a horrifying tale of communal desperation against pure evil. And unlike its villain, its message lives on.

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All pictures credit to Pamela Raith.

KENREX plays at London’s The Other Palace until 1 February. Tickets are available on the following link.

By Guillermo Nazara