Reviewed by Judd Hollander -
Jack Holden is magnificent as he takes on the roles of over 30 characters in the one-man show Kenrex at the Lucelle Lortel Theatre. Written by Holden and Ed Stambolluian, this transfer from London where it was nominated for multiple Olivier Awards, examines an actual incident and its lingering aftermath.
Skidmore, Missouri is a place located in the middle of nowhere on your way to anywhere else. It consists mainly consists of farms, one general store, one bar and one bank. A tight knit community of about 400 people where everybody knows everybody else’s business. The year is 1981 though the story begins somewhat earlier.
Ken Rex McElroy, known to all as “Ken Rex,” is the longtime town bully and someone you do not want to cross. The 15th of 16 children in a migrant family, he gets by doing odd jobs, the last of which has left him in chronic pain due to an accident. He also has a deep hatred for those, such as farmers, who have inherited generational wealth or property. Over the years Ken has had numerous run-ins with the law and been accused of such crimes as property damage, assault, breaking and entering, burglary and arson. Yet each time he’s brought to court, his lawyer Richard McFadin is able to get the charges dismissed by deliberately twisting the facts. There’s also the issue of numerous, albeit unproven instances of witness intimidation. Ken at one point proclaiming he’s never spent a single night in jail.
Ken’s undoing begins shortly after a recent acquittal when, at a town festival, he encounters 14-year-old Trena McCloud, who quickly becomes enamored with him and soon after is pregnant. The two quickly marrying as a wife in Missouri can’t be forced to testify against her husband. When the lovestruck teenager is approached at the general store by someone who only wants to make sure she’s okay, the upset Trena reports the encounter to Ken, who returns with a shotgun. Despite attempts to defuse the situation, shots are fired and one person is left critically wounded.
Thrown into the aftermath of all this is David Baird, the new prosecutor for the county and who, as the show begins, is making a statement to an unseen federal agent. It seems Ken was heading to jail for his role in the shooting until Baird makes an unexpected move which puts Ken back on the streets. Yet even as Baird believes his actions will finally stop Ken once and for all, that day of reckoning gets pushed back due to McFadin’s delaying tactics and leaves Ken free to roam and threaten. Until some residents decide to take matters into their own hands.
Playing like a true-crime docudrama or a “Law and Order” episode, one is quicky drawn into this gripping story, where the fear, anger and helplessness of the townspeople become quite palpable as they see Ken time and again the use legal system to his advantage. In the end, the question becomes one of control and what someone will do to retrain that control or conversely, take it away from another.
There are several musical interludes presented, with composer John Patrick Elliott providing quite effective onstage accompaniment, if a bit too loud at times. A particular highlight is an extended sequence that introduces the McFadin character and which feels very much like a spoof of low budget local advertisements seen on late night television.
Though much of the first act is basically a set up for what is to follow, there are more than enough twists and turns to keep the audience on the edge of their seats, even if one is already familiar with the outcome. Key to this is Holden’s excellent performance as he literally transforms himself with the physical characteristics and attitudes of one character to another from one moment to the next. Just as critical is Stambollouian’s exemplary directorial work which keeps the pacing of the story continually taut and leaving one feeling that something unexpected might happen at any moment. Lighting by Joshua Pharo and sound by Giles Thomas are also important elements in presenting the proper ominous atmosphere for the work.
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Jack Holden in 'KENREX. Photo by Matthew Murphy
The show also depicts a shifting attitude when it comes to morality, with no person able to claim that high ground for long. Ultimately, the play asks how far someone will go to protect themselves and their loved ones when all legal avenues that exist prove to be of no help. In Kenrex there are no winners, only those who must live with never knowing the full story of what happened, and those who know exactly that, but who will never be able to speak of it. Though if underlying story was truly fiction, there’s just enough of a loose end to lay the groundwork for a possible continuation of what we have seen unfold on stage.
Less a question of right and wrong than one of what choice did they have, Kenrex will keep you glued to your seat from beginning to end.
Featuring: Jack Holden
Voices: Kelly Burke (Voice of Annette Parker), James Sobel Kelly (Voice of David Baird)
Kenrex: A True Crime Thriller
Written by Jack Holdern & Ed Stambollouian
Composed by John Patrick Elloitt
Scenic & Costume Designer: Anisha Fields
Lighting & Video Designer: Joshua Pharo
Sound Designer: Giles Thomas
Casting Director: Taylor Williams, CSA
Associate Director: Rox Golden
Music Supervision: John Patrick Elliott
Company Manager: Susan Keappock
Production Manager: Sophie Larin/LJPM
Production Stage Manager: Amber Johnson
Stage Manager: Sydney Scheer
Movement Director: Sarah Golding
Directed by Ed Stambollouian
Lucille Lortel Theatre
121 Christopher Street, New York City
Tickets: https://Kenrextheplay.com
Running time: 2 hours, 15 minutes, one intermission
Closes: June 27, 2026
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