Wilko: Love and Death and Rock ‘n’ Roll

Leicester Square Theatre

Playing until 27th July 2025

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Photo credit: Nick Haeffner

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Upon learning his terminal cancer and he only had less than a year to live, Wilko feels the liberation from the diagnosis and the knowledge of what is to time, reflecting upon his past, relationship with his wife and band members in Dr. Feelgood.

This play with music spans a large period of Wilko (Johnson Willis)’s life, dating all the way back to when he was sixteen. Portrayed as a wild and ambitious individual early on, the script tells of Wilko’s wildness and not shackled by the confines of others’ expectations. This is first demonstrated through his rebellion against his English teacher’s rules around pronunciation and still go on to study English Literature at university, and subsequently insisting of creating their own music about their own settings rather than playing cover songs.

The fundamental problem with this production is that it lacks a clear overarching message and direction in which it wants to pursue early on to help the audience to immerse themselves in Wilko’s life. We are simply taken through a series of events, always watching how things are played out as spectators, but unable to connect emotionally to any of the characters.  

Although Jonathan Maitland’s script has laid the foundation of Wilko’s core traits, it does not follow through with further character building. The narrative follows a linear timeline and yet lacks any clear depiction on the passing of time beyond the early years when Wilko first met his wife and university days, prohibiting an effective portrayal of the character’s evolution. When Wilko confessed to his wife, Irene (Georgina Fairbanks), that he is in love with her and another woman, Irene seemingly left Wilko. However, shortly after, Wilko re-emerged with a woman and given that the majority of the cast members play multiple characters, it was not immediately clear whether Wilko was still married to Irene. In a production where the flow of time is perhaps not the most straight forward, confusions over who is who ought to be avoided.  

The cancer diagnosis serves as a pivotal event for Wilko, giving him the push to fulfil all of his potentials, but beyond some short moments of epiphany resolving his inner conflicts he had with his ex-bandmate, Lee Brilleaux (Jon House), there was very little change in Wilko’s character, almost as if he has consistently been the same person with or without cancer.

The cast has done a commendable job portraying their respective characters, Willis and House in particular, have consistently captured Wilko and Lee’s mannerisms. However, it is the cast’s musical talent that came through. The story itself often feels monotonous and one dimensional, but the live music performances were electrifying and highlights of the show. Indeed, these were the moments that garnered the biggest applause.

Despite the strength in the music, it alone could not counterbalance the weaknesses in the script and overall direction of the play. For a story that is fuelled by passion, talks of connections with places, and feelings in words and poetry, Wilko’s life as portrayed lacked colour and purpose.  

Creatives

Writer: Jonathan Maitland

Director: Dugald Bruce-Lockhart

Set & Costume Designer: Nicolai Hart-Hansen

Lighting Designer: James Stokes

Sound Designer: Simon Slater

Costume Designer: Caroline Hannam

Producers: Jonathan Maitland and Helena Maitland for Canvey Rock Ltd, Denise Silvey for Cahoots Theatre Company