KENREX - Southwark Playhouse Borough (01/03/25)

As a creative, it has to be a monumental challenge not only writing a solo piece of theatre, but being able to execute it, remaining consistent with your characterisation, keeping the energy levels up, and fully engaging a room full of onlookers from start to finish. And whilst it is commonly adopted by performers entering into fringe theatre, it is, for the most part, a terrifically difficult sell for audiences. Which is why it was such a huge pleasure to witness Jack Holden and Ed Stampollouian’s true crime thriller “Kenrex”, a story about real life figure Ken Rex McElroy, the “bully of Skidmore” who spent years terrorising the small town in Missouri during the 1970s and 80s.

Jack Holden in Kenrex (credit: Manuel Harlan)

Holden, one of the co-writers, was also the solitary performer on stage, himself portraying an impressive array of roles, from McElroy himself, to underage wife Trina, prosecutor David Baird, and a whole host of Skidmore townspeople. What really impressed was the sheer range that Holden displayed, as every character was distinguishable from the others, his portrayal of McElroy in particular was truly frightening, and hugely intimidating. Additionally he perfectly depicted Trina’s innate naivety, and unwavering devotion to her husband in spite of his askew moral compass.

In addition to pretty spotless characterisation across the board, the storytelling and narrative clarity was pretty spectacular, this was massively aided by Joshua Pharo’s lighting and video design, as he was able to do an awful lot with very little, the inferred car headlights in the rear being a particularly potent lighting effect, adding to the tension and suspense brilliantly. Throw into the mix some jarring, at times uncomfortable sound design by Giles Thomas, combined with John Patrick Elliott’s impressive composition, execution of which he carried out on stage behind Holden on a wide range of instruments and effects pedals, and you have a formidable combination of creative elements.

John Patrick Elliott in Kenrex (credit: Manuel Harlan)

Whilst true crime isn’t always the most enthralling to translate to the stage, Kenner exemplifies the idea of picking the right one and being able to fully immerse an audience in it. Was it perfect? Well it felt a bit laborious in the first act, as is to be expected when so much exposition is required to get a play with such a limited cast and visual palate off the ground, but this absolutely pays dividends in the end, and you do feel like the initial pacing is ultimately more or less justified, as how it pans out is gripping, at times terrifying, and has you on the edge of your seat wanting to know what comes next. Holden is a master storyteller, and this is the latest in a series of impressive writing credits that are quickly establishing him as a real talent.

★★★★☆

"Kenrex" plays at Southwark Playhouse Borough until the 15th of March.