Frontmezzjunkies reports: The Olivier-winning solo thriller begins previews Off-Broadway following a celebrated London run
By Ross
Kenrex, when I saw it in London, England, last December, did not ease its way in. It hit, hard and fast, like a 911 call that cannot be unheard, with a voice on the other end of the line already mid-crisis. That sense of urgency, of being dropped directly into something that has already gone wrong, has stayed with me ever since, and it is exactly what makes this production’s off-Broadway arrival at the Lucille Lortel Theatre feel so charged.
After multiple sold-out runs in the U.K. and fresh off two Olivier wins, including Best Actor for Jack Holden, Kenrex makes its Off-Broadway debut (previews begin April 16, with an official opening on April 26) with a reputation that feels fully earned. It is described as a true-crime thriller, but that barely begins to capture what it does. The piece moves with the energy of something “brilliantly theatrical, intoxicating, and electrifying” (as I wrote in my London review), a work that wastes no time announcing itself before pulling the audience into its tightly wound orbit.
Set in Skidmore, Missouri, in 1981, the story unfolds around a community pushed to its breaking point by a man who has, for years, operated beyond the reach of the law and of consequence. What begins as a recounting quickly expands into something more layered, a portrait of a town living under pressure, where fear, frustration, and vulnerability build toward a moment that cannot be undone. It is part true crime, part Western, and entirely gripping in the unique and electrifying way it holds its audience between fascination and unease.
At the centre is Holden (Almeida’s The Line of Beauty), delivering what has already been called “an astonishing performance” by more critics than me, and it is easy to understand why. Moving between dozens of characters, he constructs an entire world out of voice, gesture, and momentum, each shift precise and immediate. The storytelling asks a question that lingers long after it is spoken: “Where does this story begin?” and the answer is never as simple as it first appears.
That complexity is matched by the production’s design, where music, sound, and space combine to create a landscape that feels both expansive and intimate. The score by John Patrick Elliott (Apollo’s Cruise) pulses through the evening like something half-remembered from a radio, grounding the piece in a distinctly American soundscape that feels lived-in and volatile. It is theatre that understands how rhythm and narrative can move together, building tension without ever losing control.
The scale and scope are what make this Off-Broadway run particularly intriguing. The London production unfolded in a large open space that allowed the story to stretch outward, filling the room with its restless energy. Here, inside the more contained frame of the Lortel, the possibility that the piece will land even closer, drawing the audience into its orbit, feels thrilling and dangerous. A story that already felt immediate may now feel almost inescapable.
There is a reason Kenrex has connected so strongly with audiences. It does not offer easy answers, nor does it attempt to smooth the edges of what it presents. Instead, it holds onto the tension between justice and action, between what should happen and what does. It is theatre that trusts its audience to sit inside that discomfort, to feel the weight of what is being told without rushing toward resolution.
And that is what makes this moment feel so significant. Not just the transfer itself, or the awards that have followed, but a second chance to encounter a piece of theatre that asks something of us all. The call comes in, the story begins, and before we can fully prepare for it, we are already inside it, listening, watching, and trying to understand where it all might lead.
