KENREX
Nothing happens in small towns…at least on the surface. Skidmore. 1981. Ken Rex, the bully, has been terrorising the community for the past ten years: assault, intimidation, arson, the list goes on. But, thanks to the help of a shady lawyer, he’s yet to feel the wrath of the justice system. Left unchecked, inevitably another incident occurs. This time the townsfolk decide to take matters into their own hands…
Based on the true story of Ken Rex McElroy, the show made its official debut in the Tanya Moiseiwitsch Playhouse at Sheffield theatres in 2024. Following its success, the show then transferred to the Southwark Playhouse Borough for a run from February to March earlier this year before its arrival at The Other Palace.
Pre-warning: It must be said that this show isn’t recommended for anyone who struggles with sensory overload and it is strongly advisable to check the list of content warnings in advance because there are a lot.
Behold, the kings of true crime thriller have entered the building: writers Jack Holden and Ed Stambollouian have constructed a masterpiece.
The format of the show works like an investigation board, slowly revealing the different elements of the case. This allows us to really engage with the show from the outset. We get introduced to the town, its circumstances and the core characters, much like in the opening song of a musical. We can see the growing tension between the townsfolk and Ken Rex and know from the outset that this isn’t going to end well.
It’s obvious who the criminal is and who the victims are and we do find ourselves rooting for Ken Rex to be caught. But this show comes with an epic twist, which makes us question what the true crime is. Is it the flawed justice system that fails over and over again? Or is it the townsfolk’s epic cover-up? It’s this that morally challenges us and makes the show stick with us long after we’ve left the theatre.
This production is incredibly intense, not just due to the subtle scattering of crucial details throughout. Joshua Pharo’s lighting design combined with Giles Thomas’s sound design works perfectly with the contents of the show. The thought proceeds, adding a level of sensory overload that gets our hearts racing during already tense scenes.
Yet it must be said that this show doesn’t shy away from quieter, more still moments. the silences become dangerous, which enables the building of even more suspense. The more disturbing and heart-wrenching events are given time to really sink in making it even more uncomfortable to watch.
Holden is an outstanding performer in this one person show, a true master of the medium. The choices he makes with his physicality are expertly detailed and his voice control is unmatched. His sense of differentiation and stage presence has us hooked as we watch every single one of these characters come to life. He slips between the roles like a snake shedding its skin and it’s unbelievably gripping.
Not to mention that John Patrick Elliot’s musical talents bring the whole show together with his keen perception of how to use music to convey an atmosphere, which helps to keep the show grounded.
Intense, thrilling and full of suspense. This powerhouse of a show is easily one of the best plays of the year.
This show was reviewed on the 10th December at the The Other Palace, London where it runs until the 1st February 2026. Tickets available here: KENREX - The Other Palace Theatre
Review written by Megan O'Neill
AD/Gifted
Photo credit: Manuel Harlan
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