The Lightning Thief

Max Harwood, as Percy Jackson, delivered a fantastic performance, commanding the stage throughout the entire show. His portrayal of Percy’s insecurities and development was nuanced, with small idiosyncrasies and a strong combination of vocal and physical characterisation. Jessica Lee, as Annabeth, complemented him beautifully, showcasing great emotional range and an impressively powerful voice. Her performance was captivating and consistently engaging

Along with the characterisation, the production cleverly weaves in themes of ADHD and dyslexia, aligning with the traits of the half-blood demigod children and making these characteristics feel like strengths rather than challenges. These references are handled with sensitivity and resonate deeply, especially with younger audiences who may see themselves reflected in the characters. Alongside this, the narrative explores the theme of parental neglect, as many of the demigods grapple with the absence or indifference of their divine parents. This adds a layer of emotional depth to the story, highlighting the characters’ resilience and their journey to find their own identity and strength.

The multi-rolers brought energy and humour to the production. Greg Barnett stood out, seamlessly transitioning between vastly different characters, from a comedic laid-back surfer to a camp European and even Mr Brunner, a centaur. Paisley Billings also shone, taking on multiple roles that often focused on musical numbers. Her commanding stage presence and vocal talent had the audience hooked.

The staging, however, was less cohesive. It struggled to match the various settings of the story, which ranged from a seaside to a forest, and most notably, the underworld. The design, resembling a sewer, was visually disconnected from these locations. While some imaginative use of stage furniture – particularly for the two bus sequences – was a highlight, the frequent and often unnecessary movement of the stairs detracted from the overall flow.

The lighting design was the production’s standout technical feature and added dynamism to scenes. Projections and clever use of gauze created flashes and crashes that elevated the drama. The comedic forest scene after the interval, with its umbrellas, shadow puppets, and moving parts, was a huge triumph, thanks largely to the atmospheric lighting.

Illusionist Richard Pinner added the stage magic that was used throughout with success for the most part. While elements like the sword tricks and body double swaps were well-executed, others, such as the smoking map, felt like it was added just for the trick. Similarly, the Minator’s grand scale was impressive, but its movement was erratic, with noticeable inconsistencies, such as its horns switching sides. It would have been nice to see these items rearranged to create different things rather than just the Minator.

Comedy played an important role, though the balance between humour and seriousness felt uneven. Highlights included the surfer character donning a blonde wig amid bubbles being sprayed out from a hand held bubble gun and a sequence that borrowed the comedy of the squirrel from The Emperor’s New Groove. These moments, combined with a standout comedic number after the interval, demonstrated the show’s potential to lean further into its comedic side.

Overall, the production felt like it was caught between two worlds: part serious, part comedic. By fully embracing its lighter, campier elements and scaling back on overly serious aspects, it could achieve the consistency needed to make the comedy truly land. As it stands like many demi Gods, it’s close – but not quite there. That said the reading age for the original material is nine plus, and for that age I imagine this show would strike a chord.

This show was reviewed on the 28th November 2024 at The Other Palace, London where it runs until the 2nd March 2025.  Tickets available here: The Lightning Thief: The Percy Jackson Musical – The Other Palace Theatre

Valentine Gale-Sides

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Photo credit: Manuel Harlan