Don Black's From the Heart - Garrick Theatre

The internet describes Don Black as "an English lyricist and songwriter celebrated for film, theatre, and popular music." He is responsible for the lyrics of 5 James Bond films, Andrew Lloyd Webber's Sunset Boulevard, amongst many other hits you may or may not know were his to begin with. But in reality, he is so much more than that. Through personal stories and anecdotes, this musical revue reveals that there is much more to Black than fulfilled contracts. Beyond the 'career' there is a visceral love for the art of storytelling, something which is made clear from the first words uttered in this show. His humour is dry, his memories are generous, and he treats every song as a small story with its own beginning, middle and end.

The cast of five is made up of Frances Mayli McCann, Shona McGarty, Caroline O'Connor, Clive Rowe, and Michael D. Xavier. They move between ensemble numbers and solos with an ease that suggests a long familiarity with one another. Rowe gets laughs with "Doctors," a comic number he plays with perfect timing, letting the lyric do the work and the pause do the rest. McCann soothes the room with her pristine voice and calming presence. Xavier reprising his career-defining role as Joe Gillis, just for a moment, was enough to leave me breathless. McGarty and O'Connor were previously unfamiliar to me, but I left this room with a sudden burst of curiosity for their careers, both of which left me stunned more than once.

What I value most in the world of musical theatre is how much importance is placed on the words. This production is a reminder that the words have more value than any other aspect - and most crucially, it places the spotlight on the underappreciated geniuses of this industry.

Much of the material is new, which gives the evening a freshness a greatest hits show could not offer. My personal favourite was the opening and title song "From the Heart," whose melody and lyrics have the gentle, rocking quality of a lullaby. It is quiet and unhurried, and it is the moment where the room seemed to settle completely.

The show has no real plot. It is a musical revue, or cabaret style performance, where songs come one after the next with no real story thread. The stage is bare apart from a few stools, cabaret tables and a raised platform for the two musicians. The performers remain on stage throughout, watching from the edges when they are not singing, which gives the evening the feel of a private gathering. With no sets or costume changes, attention rests entirely on the words.

The lighting design by Ben Cracknell plays a large part in shaping this world. Yellow and dark blue hazed spotlights land on the stage in a way that makes every number feel dramatic while keeping the room close. The colours shift with the mood of each song, so a ballad settles into a hush and a bigger number opens the space out. Coupled with Nick Winston's understated direction, the production felt more akin to a warm hug than a lavish night in a West End venue.

In the end, this is less a retrospective than a conversation. Black's famous credits are the reason many will buy a ticket, but the new songs are the reason to stay curious about him. You arrive knowing the résumé and leave having met the writer, and with a lullaby or a comic number or a romantic ballad still in your head. It is an evening for anyone who longs to slow down and hear a story or two set to beautiful music for a short 80-minutes.

Production Value: 90%

Value for Money: 90%

Personal Enjoyment: 90%

Overall Score: 90% - ⭐️⭐️⭐️⭐️⭐️ (5*)

(AD | Ticket gifted in exchange for an honest review)

Show Information

Venue: Garrick Theatre, London

Playing Until: 18th October 2026

Run Time: Approximately 1h20

Tickets can be purchased from this link.