Directed and co-written by Ed Stambollouian, KENREX is the story of the downfall of bully Ken Rex McElroy. For ten years until 1981, McElroy terrorised the town of Skidmore, Missouri, with theft, assault, and attempted murder, and because of his slippery defence attorney and playing with the justice system, he was never punished for his crimes. But when events take a turn and he shoots the powerhouse of the community, the people of Skidmore decide enough is enough.
Immediately, we are placed in a time after the events have taken place; a recording tape sits in the middle of the stage - a woman interviews an attorney who recalls the events that took place and who also seeks justice for what happened to Ken. The recording acts as a framework, which we keep returning to at various points of the play.
Performer Jack Holden, who co-wrote the production too, takes us on a journey with his phenomenal acting. He guides us through descriptions of Skidmore, very vividly, and of the character of Ken, the people of the town, and the events that take place, such as detailed court hearings too. He does this astonishingly through taking on multiple characters, using voice impressions, certain postures, and movement around stage, to make us feel as though we have a stage full of characters. I've never seen an actor do this quite as impressively as Holden does, and movement director Sarah Golding must be applauded for her work.
With KENREX being a one-man play, it is essential that we are kept hooked and that the story is well developed even with just one actor. Holden does just this. With his engaging mannerisms, humour, and expressions, Holden brings this story to life in a brilliant unique way, quite unlike anything I've watched before.
By having numerous props on stage, such as the microphones, the light box, car headlights, a moving stage, and the tapes, Holden is also able to move around effortlessly as different characters and make us feel as though we are moving locations too - to the courtroom, and to the bar, for example.
It must be noted that John Patrick Elliot is an award-winning composer and on-stage musician who fills the stage with a soundtrack. Behind Holden's acting are country tunes, instrumental backings to humorous limericks, and also of the radio, of clapping, of tension building. Elliot is a talent and his brilliant musical composition is essential to the vibrancy of the storytelling.
This play is also split up into sections; 'chapters' are flashed upon the screen at the back, almost like we are following a book which helps with the pacing of the production and shifting between scenes more smoothly.
KENREX is a fascinating true crime story that has been brought vibrantly to life in a well-crafted, exceptional way, and I urge anyone interested in true crime documentaries to go give this play a watch.
KENREX is at Southwark Playhouse (Borough) until the 15th March.
Review: Cara Scott Photo: Manuel Harlan