Prepare to be captivated by the most jaw-dropping theatrical experience of the year: Kenrex, a true crime masterpiece starring the extraordinary Jack Holden. But here’s where it gets controversial—this isn’t your typical stage production. It’s a one-man show where Holden embodies an entire town, complete with twists, corruption, and moral ambiguity that will leave you questioning everything. And this is the part most people miss: it’s not just about the story; it’s about the sheer audacity of Holden’s performance, a high-wire act of vocal and physical transformation that defies belief.
Kenrex first took London by storm at the Southwark Playhouse, leaving audiences spellbound with its gripping tale of Ken Rex McElroy, a tyrannical figure who terrorized the small town of Skidmore, Missouri, in the late 1970s and early 1980s. The story, which Holden and co-creator Ed Stambollouian unearthed online, is a chilling exploration of justice, power, and the lengths people will go to when pushed to their limits. Bold claim? This might just be the most immersive piece of theatre you’ll ever witness, blending minimalist design with Holden’s chameleon-like ability to shift between characters—from the menacing Ken to a vulnerable young wife, an FBI agent, and even a sleazy lawyer—all without a single costume change.
What makes Kenrex truly unique is its reliance on the audience’s imagination. Holden explains, ‘It’s a real act of imagination for the audience; they have to fill in the blanks.’ This stripped-back approach, combined with John Patrick Elliott’s raucous Americana soundtrack, creates an experience that feels both intimate and epic. Now, after a sold-out run and a move to The Other Palace, the show is poised to blow even more minds.
But here’s the controversial question: Can a story this dark and complex truly be considered entertainment? Or is it a mirror held up to society, forcing us to confront uncomfortable truths? Holden himself admits, ‘It’s a fundamental story of justice, of right and wrong, but it evolves into the story of good people doing bad things.’ That tension—between morality and survival, between spectacle and substance—is what makes Kenrex so compelling.
Behind the scenes, the show’s creation was a labor of love, seven years in the making. Holden describes it as ‘cooked low and slow, so it’s a really rich taste.’ Yet, when it came time to stage it, they had just four weeks to rehearse. The result? A performance that feels both meticulously crafted and dangerously spontaneous, like a tightrope walker who might just leap into the crowd at any moment.
Holden’s journey to this point is equally fascinating. Growing up in Tonbridge as one of five boys, he developed ‘a complex for getting attention’ that fueled his passion for performance. From adoring Jim Carrey and Robin Williams as a child to training at the Bristol Old Vic Theatre School, he’s always been drawn to big, bold characters. His breakout one-man play, Cruise, about a young gay man’s final night on Earth, earned him an Olivier Award nomination and cemented his reputation as a theatrical force to be reckoned with.
And this is the part most people miss: Holden isn’t just a performer; he’s a storyteller, a writer, and a collaborator. His adaptation of Alan Hollinghurst’s The Line of Beauty, currently at the Almeida Theatre, is a Faustian tale of desire, betrayal, and the AIDS crisis. Yet, despite his success, he remains humble, insisting, ‘I don’t want to get a reputation for just doing my own solo shows. I love collaborating!’
So, what’s next for this theatrical maverick? Rumors suggest Kenrex could be headed for the States, and Holden is already developing new projects with Stambollouian, including a British true crime story and another show he describes as ‘basically about space, the final theatrical frontier.’ Whether you’re a theatre aficionado or a newcomer, Kenrex is a must-see—a thrilling, thought-provoking experience that will leave you questioning the line between hero and villain, truth and fiction.
Thought-provoking question for you: In a world where true crime dominates podcasts and screens, does Kenrex prove that theatre can tell these stories better than any other medium? Let us know in the comments—we’d love to hear your take!
