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A Mirrored Monet

 
Peter Swann Review by Peter Swann 2 Published: 26 Mar 2026 Charing Cross Theatre Show Dates: 14 Mar 2026-9 May 2026

There is undeniable appeal in the idea of a musical about Claude Monet – a figure whose life encompasses artistic revolution, personal turmoil and enduring legacy. A Mirrored Monet, written by Carmel Owen and directed by Christian Durham, frames this story through the artist’s later years, as he struggles to complete his Water Lilies while reflecting on his past. It is a premise rich with potential, but one that results in a curiously low-stakes and dramatically muted evening.

A gentle portrait, perhaps – but one that never quite captures the vibrancy of its subject.

Visually, the production is appealing. Charing Cross Theatre is dressed with canvases that line the stage, brought to life through projections. While often generic, there are moments where design and storytelling align – particularly during the En Plein Air sequence, where the visuals vividly evoke Monet’s outdoor painting style. It is here that the show feels most cohesive.

There are also thoughtful tonal choices. Mercifully, the production avoids exaggerated French accents, opting instead for consistent British ones, which lends a welcome sense of restraint. There is also something quietly fitting about staging the show in London, given Monet’s fascination with the city’s fog and light.

However, the central issue lies in a lack of dramatic urgency. By framing the story with an older Monet looking back, much of the tension is removed. We know where the journey ends, and the production struggles to create a sense of risk along the way. This is most apparent in an act one finale that lands with surprising flatness, raising questions about where the stakes truly lie.

The writing also sidesteps some of the more complex aspects of Monet’s life. Camille is given a stronger presence, and Brooke Bazarian delivers a sincere and engaging performance. Yet the relationship is simplified, glossing over more difficult truths – including Monet’s later involvement with Alice – leaving the narrative feeling somewhat sanitised. Similarly, more desperate moments from Monet’s life, such as his attempted suicide, are absent, reducing the emotional depth of the story.

Musically, the show struggles to leave a lasting impression. Despite a large number of songs, few are memorable. The score lacks distinctive melody, and audience reactions remain polite rather than enthusiastic. En Plein Air stands out as a highlight, while other numbers, including the overlong I Was Important Then, feel less effective.

Performance-wise, the cast are consistently capable. Jeff Shankley and Dean John-Wilson offer solid portrayals of the older and younger Monet, though the material leaves both feeling somewhat underdeveloped. Bazarian, meanwhile, provides the most compelling work of the evening.

There are glimpses of a more interesting show – particularly in moments that hint at the tension between artistic rebellion and tradition, such as the Marquis’ pointed instruction to “follow the rules”. Yet these ideas are never fully explored, and even key influences such as Eugène Boudin are absent.

Ultimately, A Mirrored Monet is a pleasant but forgettable production. It offers an accessible introduction to its subject, but those seeking emotional depth, historical complexity or memorable musical theatre may find it lacking.

Amir Nisi

Peter Swann

Peter is an actor, director and theatre producer. He has created and toured various award-winning productions around the UK, to Edinburgh Fringe and internationally.

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The Blurb:

The man behind the masterpiece. Paris, 1916. The painter Claude Monet struggles to complete the commission that will define his legacy: The Water Lilies — a project on which his survival depends, with food and essential supplies at stake as the First World War encroaches. Plagued by creative block, he retreats into memory, revisiting his early artist days with contemporaries Renoir and Manet, and his muse, Camille Doncieux. Inspired by letters and diaries from Monet and his peers, A Mirrored Monet immerses audiences in the cafés, studios, and salons of Belle Époque Paris, with music and projections bringing the era vividly to life. This dramatic new musical by composer/lyricist/dramatist Carmel Owen stars Jeff Shankley (Starlight Express, Cats) as Monet and Dean John-Wilson (Your Lie in April: The Musical, The King and I) as Young Monet.
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