Who Killed Marilyn? Glamour, intrigue and a London run to remember Celebrating the performances, atmosphere and audience appreciation that marked the production’s time at the Emerald Theatre. Marilyn Monroe has a way of holding our attention, even across the decades. At London’s Emerald Theatre, Who Killed Marilyn? drew on that enduring fascination, inviting audiences into an evening of Hollywood glamour, private vulnerability and political intrigue. Written by Sharleen Cooper Cohen and directed by Philip Wm. McKinley, the production ran from 15 August to 29 October 2026. With Pixie Lott as Marilyn and Emma Haines as alternate, it approached a familiar story with the ambition of giving its central figure room to speak for herself. The result found enthusiastic supporters among theatre reviewers and audience members who responded to its performances and emotional intensity. Lott’s portrayal was central to that appreciation. Taking on someone whose appearance, voice and mannerisms are so firmly fixed in the public imagination is a considerable undertaking. Among the reviewers who embraced her interpretation, the praise centred on the intelligence and feeling she brought to the role. West End Best Friend awarded four stars and described her performance as a “tour-de-force”, recognising a Marilyn whose complexity shone through. The Reviews Hub also awarded four stars, calling the production “entertaining and gripping theatre”. Its review praised Lott’s sympathetic understanding of her subject and the spirit with which she balanced vulnerability, wit and defiance. Together, those responses recognised the emotional ambition behind the performance. Haines brought her own qualities to Marilyn. North West End UK’s four-star review of an October performance praised her assurance, warmth and ability to suggest the woman beneath the familiar image. It also recognised the strength of the supporting ensemble, singling out Eliot Giuralrocca’s portrayal of Ralph Greenson. That appreciation makes room for the wider company’s contribution to an evening populated by shifting relationships and powerful personalities. The setting helped establish the mood. The Emerald Theatre’s intimate, cabaret-style character suited a story poised between public glamour and private encounters. The Reviews Hub welcomed the film noir aesthetic, while Time Out recognised the production’s dark blue palette and sound design. Those details gave the production a distinctive visual atmosphere, drawing the audience into its interpretation of Marilyn’s world. Some of the warmest responses came from theatregoers themselves. On Tripadvisor, one visitor described being “captivated from start to finish” by Lott and the cast. Another gave a performance led by Haines 8/10, praising the storytelling and the company’s ability to make Marilyn’s life engaging and accessible. These individual accounts offer a welcome glimpse of the pleasure audiences found in discovering the production for themselves. For those who connected with it, the appeal lay in the combination: a compelling subject, an intimate setting and performers bringing feeling to a story crowded with familiar names and competing theories. The production offered an opportunity to spend time with a theatrical interpretation of Marilyn, to consider her vulnerability and to revisit the pressures surrounding a woman whose fame continues to command attention. With its London run complete, there is much to celebrate in the work of its cast and creative team. The four-star reviews and appreciative audience accounts preserve moments of connection: a leading performance that held someone’s attention, an alternate Marilyn who made a strong impression, a story that drew a viewer in. The London chapter closes with those performances at its heart, and with appreciation for the company who brought Marilyn’s story to the stage.