Death Note Musical (London 2026)
12 September 2026
I went to see the Death Note Musical at the Barbican Theatre, London on 5th September 2026
Summary:
I really enjoyed this musical, but mainly because I'm such a big fan of the anime, and musicals, in general. ❤︎
The staging was really cool, making use of three main interiors that were lit and moved across the stage, as well as multiple screens. The choreography was great, the cast were phenomenal, and there were a few elements I found really fun.
Objectively, I would say the music was on the weaker side, with some really clunky lyrics. If you don't generally enjoy musicals, you probably won't like this. Especially as it's a sung-through musical, with very little spoken dialogue. The joy is in the emotive nature of the songs and seeing these characters come to life in a new way.
Merch Check! I got the four pin set, the tote bag and the programme. I was a bit dissapointed in the programme. I'd forgotten how flimsy these things usually are. I was hoping there would be some photos of the cast in the costume and scenes from the show, but there was only a little bit of behind the scenes stuff.
Full Review:
I'm going to go into lots of picky detail below about the parts I really didn't like, but I want to stress that overall my experience was positive. I just have a lot of thoughts and opinions!
Where Is The Justice?!
Okay, this was the one song/part I really disliked - and it was right at the start, so set the musical off on the wrong foot! The original anime doesn't lean into Kira's ideology. We're encouraged to see Light as comletely delusional and his quest to rid the world of evil by killing all criminals as childishly absurd. So, it was bizare to watch the show open on an earnest sing-song anthem bemoaning the inconvenience of human rights and defence lawyers.
While it does specifically call out the corruption that enables 'corporations' and the 'rich and famous,' the repeated lines about 'families hiding in their houses ... afraid to walk the streets at night' clearly evoke street crime, so comes off as a very straightforward call for more power to the police. It didn't come off as distanced or ironic at all, and as such, seeing the phrase "Where Is The Justice" slapped all over the merchandise left a bad taste in my mouth.
I also disliked the way it presented Light as an idealist, motivated by a sincere desire for justice. In the anime, he's shown to be bored and apathetic, filled with an unspecific loathing for humanity. Although he intellectualises his feelings, fitting them into a moral framework, his primary motivation for killing is to elevate himself to a position of power. To become a "god" and punish whomever he seems fit.
In the musical, we're told that Kira only targets criminals who have comitted severe crimes and who appear to have been wrongly released on 'technicallities', such as 'tainted evidence.' This is clearly meant to make his actions seem more sensible and sympathatic - because god forbid police are held accountable for bungling evidence and coercing confessions! If I'm not being clear: I think this was a misstep.
On a minor note, I also found it strange that we were introduced to Light in a law class, as if he was already studying in college, not still in high school. It made me wonder if they had decided to age him up and make him more like Mikami's character, and it was a while before it was clear that this was not the case.
The Shinigami
Cast photos from @tellyleung (Instagram) and @deathnote-dramanmusical (Tumblr)
The shinigami had a very prominant role, introducing the story in 'They're Only Human' where they looked down on the mortal world from a raised platform. Throughout, Ryuk and Rem commented on the nature of humans and shingami, often arguing with one another about their views and actions. This made their perspectives feel like the two main themes competing in the show, even though they weren't really counterpoints and never really came together to form something cohesive or overarching.
Rem espoused the power of love and its ultimate expresion in sacrifice. Ryuk revelled in nihalism, insisting that all humans die the same, and nothing really matters apart from having fun. Meanwhile, L and Light's conflict was roughly sandwiched in the middle. Vaguely representing the self-destructive dangers of obsession, egotism and hubris - although no one sung a song about that.
Now, I'm not saying that Death Note needs to have a defining message. In fact, I think it's better that it doesn't! But the musical constantly seems like it's trying to make a point before abruptly throwing its hands up in the air and mourning the end of itself.
Oficial photos from the programme
The costumes were nicely stylised, but relatively understated. They didn't really convey the monstrousness of the shinigami of the anime, and therefore the characters were further humanised. While I like the fine details you can see in photographs, even in a stall seat you couldn't really make them out and so the result felt a little bland.
I noticed that this new, less-monsterous Ryuk got pretty touchy-feely with Light, which I didn't particularly care for, especially as he put a weird focus on Light being 'not a boy, but not a man' at one point. I'm sure some fans will appreciate his camp, bombastic creepyiness, though. Cue the "Hot Ryuk" discourse.
Photos from @reallouistheroux and @loustattruther on Tumblr
Misa Misa
In a suprise turn of events, I absolutely LOVED the musical version of Misa! I had been pretty underwhelmed by the first few numbers, so when Misa skipped on the stage to deliver a solid pop concert, I was delighted to see her.
In the anime, misa is a publicly adored supermodel idol with the mannerisms of a child on a sugar rush, who just so happens to be a severely unhinged serial killer.
If I had to describe anime Misa in three words, I would choose: Hot, annoying, psychopath. And if I were pressed to pick only one, I would be forced to choose "annoying" over "psychopath" as her defining trait.
This wouldn't be a problem, if it were not for the fact that that throughout the course of the anime, not one but two shinigami fall in love with Misa and sacrifice their lives for her. This implies that there is something special about Misa that moves them. Something, beyond her looks.
At no point does the series give us any hint what this might be.
Now, if you make more Misa even a slightly more well-rounded character, you go a long way to solving this problem. If you make her sensitive and likeable with a creative passion, you've worked a honest-to-Kira miracle.
Photos from @deathnote-dramanmusical on Tumblr and the offical programme
The musical version of Misa is a lonely singer-songwriter who has been in the pop industry since she was a child. She doesn't kill indiscriminately, or at all, until Light asks her to do so, and is reluctant to do so even then. Visibally shocked that Light would consider killing an 'innocent' police officer who is tailing him.
You can really see why Rem would have become attached to this Misa. In a scene where she composes a new song, 'I'll only love you more' Rem watches on, clearly moved by her passing an devotion and connecting with her lyrics.
We all need a hero,' is a sweet, naive song that could plausibly move the masses. While also being a hilariously tone-deaf response to a vigilant mass-murderer.
I only wish we'd gotten a scene of her team pleading with her not to do it, telling her that it will destroy her career, only to be immediately contrasted with overwhelmingly positive public response. That would have really fit the ironic, cynical vibe of the original anime.
Honour-bound
From what I understand, the songs for this musical were originally written in English - it's not a japanese production - so it's strange that so many of the lines feel so overlong and clunky, as if badly translated.
However, it became blindingly obvious that the writer/s MUST be American when Soichiro Yagami starts throwing around the word 'honour' like he was in Disney's Mulan.
His song, 'Honour-bound' even has a faux oriental trill to it. I literally flinched. To me, this isn't just bad, it's embaressingly bad. At some point, someone really should have corrected this, and the fact that no one has really makes me wonder.
It's a real shame, because I really like the father-son dynamic between Soichiro and Light. I think there's a lot of material there and would have liked to more of this explored through the music.
For instance, I really enjoyed the version of 'There are Lines' which was performed with updated lyrics. Rather than addressing Soichiro directly and pretending to agree with him, Light sings separately about how he won’t let L sway him from his purpose. Which creates a lovely mirroring effect between the men, showing they both have the same stubborn resolve, and belief in their own sense of justice.
[Light] L assumes I'll just give in He won't throw me off my game It's a battle he can't win Only Kira will remain I'll continue on as planned And he won't stand in my waty I refuse to let one man cause the end of my formiddable cruisade |
[Light, Soichiro] You don't let a man Jeporadize your views You don't change your path When they change the rules You don't trade your truth For someone else's lies You can't let one man Meddle with your mind. |
Photo by @sitheatresnaps
L and Light
Cards on the table: I'm a big LxLight shipper. So, unsurprisingly, my favourite songs of the musical were those which L and Light sing together, 'Stalemate' and 'Playing his game' with L's main song, 'The Game Begins' coming in third place.
But both of my boys lose a huge amount of stage-time to Misa and the shinigami, and as a consequence, they barely interact.
Their songs are all about how they're going to enter into a fierce battle of wits, but this never actually happens. Apart from the Lind L Taylor broadcast, L doesn't have time to do anything other than arrest Misa, which he does on absolutely no evidence whatsoever.
In 'Playing his game' they sing about how they're going to get so close to each other that they feel like they're the same person, under each other's skin and seeing through each other's eyes, but after they finish their tennis match they immediately go their separate ways and only meet up again TO DIE.
L never installs cameras in Light's house, or locks him up in a cell, or handcuffs him to himself for twenty-four hours a day. So it's strange when Soichiro Yagami starts talking about how L has lost his mind and gone too far.
He literally hasn't done anything!
In addition, there were a lot of small choices, here and there, which I feel mischaracterised both of them. For instance, when asked if he is joking, L responds, 'Impossible, I have absolutely no sense of humour.'
To me, L is all sarcasm and irony. He delivers his lines deadpan, but very intentionally. He isn't some sweet innocent accidentally upsetting those around him. He's intentionally mocking them. And he clearly can appreciate the humour in the absurd, as he often comments on it.
In 'Secrets and Lies,' Light sings, 'I'm smart enough, so it appears, to win this stupid game.' Light would never feel the need to qualify his own intelligence like that, or refer to the fight against L as 'stupid.'
These may seem like petty examples, and they are, but they do add up, especially in a play/musical where every word choice matters. And I can't help focussing on them, as a hard-core fan.
Most controversial take (?)
If you wanted to create a more faithful musical adaptation, I honestly think it would be worth cutting it down to just five or six songs and replacing the rest with spoken scenes.
I'm absolutely not saying that should be done! The show functions as its own thing and has some really great, unique elements. But the way it's structured gives it a very different vibe from the original anime and a lot is lost in adaptation. As a fan, I would be curious to see a radically different take from this staging.
Sewing Projects: Doll Bedding & Headdress
30 August 2026
What can you make with a large off-cut of quilted fabric?
My friend gave me this super cute fabric, which she'd been holding onto for ages, but hadn't found a use for. It has a lovely quilted effect, so I thought it would work perfectly as a quilt and pillow for my MDD dolls. After that, there was still a fair bit leftover, so I decided to make a Lolita headdress, too.
Doll Bedding
I don't usually document my sewing process because it is very messy and I make a lot of mistakes. For the duvet, I cut the fabric down to size, using an existing duvet for reference, and cut a rectangle of plain white fabric from a thrifted bedsheet to match. I sewed the both together, pattern-inwards, leaving a small gap, then turned it inside-out and finished it off. VERY BASIC. The only issue, was that the white fabric was a bit thin, so you could see the unfinished seams on the inside. For the pillow, I had enough fabric to use it for both sides, which looked a lot better. I made this in the same way, but with toy stuffing inside.
Lolita Headdress
I used an existing headdress as reference for the size, and cut the fabric to a slim rectangle, rounding off the corners slightly. I then folded and sewed bias binding tape around the edges. I added a lacy trim (broiderie anglaise) to the underside, covering the unfinished edges with another strip of bias binding. Then, I added a final layer of thin white trim to the top side, over around the edges. To finish it off, I added bows to each side and long white ribbons to the underside, to tie it in place.
I ended-up doing almost all the sewing by hand, as it was too fidly to do by machine. I stitched over the top-trim with my sewing machine, but I actually think I would have done a better job if I'd done that by hand too.
These were fairly simple projects, so I wan't able to mess them up too much, and I'm happy with the results. I even have a tiny bit more fabric which I could probably make use of, but I haven't had any more ideas.
Chiffon Magazine Vol.2 Launch Party
28 August 2026
I went on a little outing to the Pudding en Ruben mini market in London, to celebrate the launch of Vol.2 of Chiffon Magazine.
Chiffon Magazine is a London-based magazine celebrating J-fashion. I was lucky enough to be featured in the first issue, Into the Rabbit Hole, with my friend, Rosa. We got our photos taken for the street snaps section:
The Launch Party
The event was held at St Francis at The Engine Room, a church and community centre on Friday, 28th August 2026, between 12pm - 7pm. As it was on a weekday, I think it was more targetted towards students and those flexible work schedules.
I arrived around 12.15, so was one of the first people there. I got my free drink (unfortunately, I forgot to take a picture!) and did a quick tour of the stalls, before looping back to the entrance to get my cheki (poloroid).
There was a little table next to the photo area for decorating our polorids, with plenty of cute stickers and colour pens. As it was close to the entrance, it did get a bit crowded round there.
There were lots of great artists/vendors, but I was trying to keep my purchases low, so couldn't participate in the sticker-rally.
I picked up a couple of magazines, some small accessories, and some ankle socks from my friend's stall,R.R. Memorandum.
I also got a few great bits from the Trinket Trade table, which is always a fun feature, as the items change throughout the day!
I hadn't booked a place on the workshops, but luckily a few spaces opened up for the Faux Cake Deco Workshop, as some people didn't turn up, so I was able to pay for a seat, there and then. We were given a choice of cardboard boxes and lots of materials to decorate them, including bags of fake icing, ice-cream scoops, fake sprinkles, fake fruit, lace, ribbon and mini charms. We ended-up running over, because we started a bit late, so finished around 3pm.
I left shortly after this, as I didn't want to be travelling back too late. I'm not sure when the film screenings took place, but I would asume late afternoon/evening.
Summary
It was a really cute event and the organisers clearly put a lot of thought into all the activities and decorations. It looks like it was super popular too, as over 600 tickets were sold on eventbrite!
If I were to give one critique, though, it would be that the room seemed too small for an event that size. Most of the time, there was only just enough space to move around the stalls, and there wasn't any space to sit down or socialise. That made it seem more like a pop-up, where people were only expected to attend briefly, take photos, shop and leave.
I think that if there were a few more tables, for eating and drinking, or crafting, it would have put the event over the top.
