Hugo Bolton and Bryan Batt in Here Comes J Edgar [Mark Douet]

J EDGAR Hoover, the ruthless director of the FBI from 1924 to 1972, consolidated his position as the most powerful man in America by keeping secret files on the private lives of others, wielding influence and leveraging his intelligence against successive presidents.

Here Comes J Edgar, a West End-ready musical, tells the public and private story of Hoover with a brilliant central performance from Bryan Batt (of Mad Men fame).

Behind all the macho posturing was Hoover’s closeted sexuality and his enduring love affair with Clyde Tolson (Hugo Bolton), whom he installed as his deputy. Their relationship is primarily what writers Harry Shearer and Tom Leopold focus on, animated by a terrific musical score by the late, legendary composer Peter Matz.

Batt is perfectly cast, full of energy and bounce as Hoover in his prime. We first meet him on his deathbed, reunited with his younger self (Jess Pratley) and mother (Lucy O’Bryne).

We’re given hints of Hoover’s intimidatory tactics when, as a boy, he gets out of trouble with a head teacher by holding compromising information over him, and, later, blackmails Franklin D Roosevelt (Alfie Parker) about hiding the debilitating extent of his polio.

Seeing more of his cruelty and deviousness would have helped make the character feel more rounded. Instead, some of the story in the second half feels a little repetitive, even though the music keeps on delivering.

It’s slickly directed by Josh Seymour, joyously executed and snappily choreographed by Bill Deamer on the King’s Head’s small stage. The cast’s vocals are sensational and there are several star turns including Laura Medforth as Hoover’s lovelorn secretary, and a memorable cameo by Judith Owen as Lady in Red.

Until August 16
kingsheadtheatre.com/