Review: Sea Witch
Star rating: ⭐ ⭐ ⭐
This major new musical has officially had its world premiere at Theatre Royal Drury Lane, and what a stage to debut on. Directed and co-directed by Kristopher Russell, with writing by Michael Glover, the production brings together an exciting creative team and a seriously impressive cast.
Leading the company is Whatsonstage Award nominee Djavan Van De Fliert (Les Misérables) as Nik, alongside Drag Race star and broadcaster Michelle Visage as Tante Hansa. Jay McGuiness (Romeo & Juliet UK Tour) takes on the role of Iker, with Natalie Paris (SIX The Musical) as Evie. Mazz Murray (Mamma Mia!) appears as Queen Charlotte, Amy Di Bartolomeo (The Devil Wears Prada) plays Annemette, and Natalie Kassanga (Moulin Rouge! The Musical) completes the principal line-up as Malvina.
The ensemble features Danny Bailey, Elizabeth Bright, Lucca Chadwick-Patel, Samuelle Durojaiye, Colette Guitart, Nadine Samuels, Robin Simões da Silva, and Cameron Vear.
Adding even more energy to the stage is the full dance company, led by choreographer Dean Lee, including Bobby Biggs, Charlie Clowes, Sebastian Diaz, Bella Finateri, Meesha Garbett, Isabella Graham, Kye Hill, Matthew Houston, Effi Kavrazoni, Alicia-Brooke Lemur, Chennel Lovick, Rania McRae, Nicholas Michail, Lilonke Nyangwa, Kitty O’Gara, Daray Russell, Risha Tavernier, Lincoln Walsh, Pollie Jackson (Swing), and Sam Jennings (Swing).
The production leans heavily on star casting — something we see a lot in Belgium, which is part of why I love the UK theatre scene, where it tends to be less prominent. Even here, with big names on stage, the show brings in a talented ensemble of singers and dancers, each getting their own little moment to shine, which I really enjoyed. Still, I couldn’t help but feel a little disappointed that the concept relied so heavily on celebrity names rather than letting the story or ensemble carry more of the focus.
Being part of the early stages of a new musical is always very exciting. From seeing the first steps during the press junkets to experiencing the show live, it’s something truly special, especially for someone who isn’t a UK resident.
The stage design and lighting were visually striking and bold, adding to the mysterious atmosphere of the piece. However, as someone who is highly sensitive and struggles with migraines, I had to be cautious. Some of the lighting effects, particularly during the darker and more intense moments, became overwhelming and at times forced me to close my eyes. While artistically strong, it may be challenging for more sensitive audience members.
I went in very excited, but by the interval, I wasn’t as satisfied as I had hoped. Where I was seated, several audience members left mid-show. Whether this was due to the lighting, pacing, or overall engagement, I’m not entirely sure — but leaving during a performance is something I rarely witness. The acting was phenomenal overall, with highly skilled West End performers supported by an incredible ensemble of dancers and singers. Each performer had their own standout moment, and I was genuinely impressed by the level of talent on stage.
However, some of the acting scenes felt rushed, particularly in moments where dialogue suddenly shifted into song. At times, the transition didn’t feel completely earned, and certain musical numbers seemed to arrive quite abruptly rather than growing naturally from the story. While I remained fully captivated by the songs themselves, this contrast between strong musical moments and less grounded narrative transitions occasionally made the show feel slightly uneven.
Overall, it’s clear that an enormous amount of talent and effort went into this production. While not flawless, and with some challenges for sensitive audience members, it offers an exciting glimpse into the early stages of a new musical — definitely worth seeing for the performances, energy, and ambition of the team.
