Fitzrovia is once again at the cutting edge of cultural brilliance with the highly anticipated premiere of Caravaggio: The Brush of Darkness, a bold new musical about the tumultuous life of the Italian painter Caravaggio. Known for his dark, brooding works and a temper as fiery as his brushstrokes, Caravaggio’s life is about to get the glittering West End treatment. And yes, there will be really dramatic lighting.
The show will debut at the Fitzrovia Palladium next month and is already causing a stir. The musical, penned by visionary but entirely unpredictable playwright Barnaby “Bazza” Wiggleswoth, aims to turn the story of Caravaggio into an extravagant, toe-tapping extravaganza full of existential angst, baroque-inspired ballads, and a bit of sword fighting.
The Story
Caravaggio: The Brush of Darkness follows the tumultuous, sometimes ridiculous, life of Michelangelo Merisi da Caravaggio (played by Reginald Thistlewick), one of the most influential and scandalous painters of the Baroque period. Known for his raw, almost grotesque depictions of religious figures, Caravaggio also had a penchant for brawls, gambling, and generally being the kind of person your mother warned you about.
The musical kicks off with a dramatic opening number titled “The Brushstrokes of My Rage” where Caravaggio, still only a young man, begins painting violent religious scenes while singing about his deep disdain for art. The number features a full-on sword fight with a group of monks (a very important moment for the plot) and concludes with Caravaggio throwing an easel at a wall.
As the musical progresses, Caravaggio’s rise to fame and fall from grace are depicted in a series of lavish (and occasionally confusing) set pieces. He drunkenly declares, ‘I am almost Dead, but My Paintings Are Alive’ in the upbeat and catchy tune “Baroque and Roll,” before having a public duel with a rival artist, Francesco “I Can’t Believe It’s Not Caravaggio” Battiloro.
The musical reaches its emotional peak when Caravaggio realizes he is on the run from the law for manslaughter in the song “Why Can’t I Just Paint Like a Normal Person?” The number is a wild melange of anguished wailing and a chorus of strobe lights, as Caravaggio takes refuge in Naples and paints “The Supper at Emmaus,” while alluding to his various emotional breakdowns.
The Music
The score, composed by a group of well-meaning but underfunded musicians called The Scores, features everything from high-octane rock operatics to plaintive, whispered ballads as Caravaggio stares at his unfinished canvases. The song “Venus, You Have Two Eyes” is already being called the greatest modern interpretation of the myth of Venus, love, and the pain of painting her. And let’s not forget the foot-stomping “From Rome With Rage,” an anthem for all of us who’ve ever had a really bad day in Italy.
Unfortunately, the lyrics sometimes get lost in the shadowy maze of Caravaggio’s artistic frustrations. A particularly confusing segment involves a full-scale choir of art critics singing about chiaroscuro in the number “Darkness Is My Palette,” which according to one reviewer left the audience “both deeply moved and deeply unsure of whether they had just witnessed high art or an avant-garde bore-fest.”
The Cast and Costumes
The star of the show, Reginald Thistlewick, is hailed for his gripping portrayal of Caravaggio—complete with dramatic eyeliner and the occasional brooding stance. His portrayal is undoubtedly mesmerizing, especially when he belts out the number “I am My Muse,” a mournful tune that ends with him pouring a cup of wine onto a family portrait of the Medicis (a scene not for the faint of heart).
The costumes are a tribute to the dark, decadent fashion of the Baroque period, though with a strange modern twist. In a bold creative decision, director Chloe Lumley has chosen to outfit the entire cast in crushed velvet and leather, with a bit of glitter to represent the glistening highlights in Caravaggio’s work.
Public Reactions
Early reactions to Caravaggio: The Brush of Darkness have been mixed. “It’s so terrible I can’t look away,” said local cafe owner Natasha Bumblespike. “I mean, the sword fights are better than The Three Musketeers, but I’m pretty sure Caravaggio wasn’t a pop singer.”
Art historian and local critic, Horace Dappley, was less kind. “It’s not about painting. It’s about staining the art world with poor decisions, neon lighting, and songs about brushes. There are more anachronisms than in a time-travel movie.”
Despite this, ticket sales are brisk, with several Fitzrovia aristocrats reportedly snapping up season passes in hopes of getting closer to the “mysterious genius” of Caravaggio’s life and music. “Honestly, it’s better than Cats, and I haven’t seen any musical where you can drink wine and yell at the stage for 90 minutes,” said one enthusiastic attendee.
What’s Next?
If this wild ride manages to hold onto its audience, Caravaggio: The Brush of Darkness will run at the Fitzrovia Palladium for the foreseeable future—unless, of course, an inexplicable paint fight breaks out between the actors again, as happened during previews. Either way, one thing’s for sure: it’ll be memorable, confusing, and probably best enjoyed with a lot of wine.
So, if you’ve ever wondered what it would be like to watch Caravaggio become a rockstar, duel over art, and paint angry portraits while singing about how miserable he is, this show is for you. Tickets available now—just don’t expect a conventional theater experience. And do bring a mop.
Caravaggio: The Brush of Darkness is playing now at the Fitzrovia Palladium. Please check with the box office for warnings about paint splatters.
