Turning a classic Hollywood western into a West End musical is never simple, but High Noon achieves it with energy and flair. Director Thea Sharrock combines Bruce Springsteen songs, line dancing, and a powerful performance by Billy Crudup to bring the 1952 film to the stage. Initially, the production feels fragmented, jumping from one brief scene to another. The wooden saloon-bar set mirrors this stiffness. Yet the show soon finds its rhythm, especially as it builds toward the climactic showdown. Frank Miller, played by James Doherty, returns to his “dirty little village in the middle of nowhere.” He confronts Marshal Will Kane, Crudup’s character, who must defend the town despite its citizens’ reluctance to act. The story’s central tension—courage versus cowardice—resonates strongly in today’s political climate. Originally, the film was an allegory of McCarthyism. Screenwriter Carl Foreman was blacklisted, and the story highlighted the moral courage of a few against the complicity of many. On stage, the musical emphasizes community responsibility, echoing contemporary debates about civic duty and justice in America. Eric Roth’s script preserves many lines from Foreman’s original screenplay while expanding discussions on ethics, institutional wrongdoing, and societal myths. Crudup delivers a compelling portrayal of Kane, balancing integrity, desperation, and quiet heroism. His co-star, Denise Gough, plays Amy Fowler, a Quaker opposed to violence. Their chemistry anchors the narrative, making the couple’s wedding day a poignant counterpoint to the town’s moral decay. Gough’s modernized performance adds grit and complexity compared to Grace Kelly’s original role. Some supporting roles feel underdeveloped. Billy Howle’s deputy, Harvey Pell, and Rosa Salazar’s Mexican businesswoman, Helen, have limited depth. Yet Roth gives the female characters more voice and texture than the film, particularly in the bond between Amy and Helen, which feels fresh and authentic. Springsteen’s songs infuse the production with American optimism and political weight. Tracks like Land of Hope and Dreams and The Rising underline the narrative’s ethical stakes. Gough’s a cappella renditions are haunting and effective, though I’m on Fire is repeated too often. Music and sound design, however, remain striking, and Neil Austin’s lighting adds emotional clarity, highlighting key moments of tension and drama. Tim Hatley’s set design centers around a clock, counting down to the arrival of Miller’s train. This element keeps audiences on edge and anchors the action, including the tricky staging of the cross-town shootout. While the musical is sometimes hesitant, it builds momentum and delivers moving moments that honor the source material. Ultimately, High Noon succeeds not only as entertainment but as a commentary. The McCarthyist fears of the 1950s find a contemporary echo in today’s political anxieties. The production prompts reflection on moral courage, civic responsibility, and the perils of remaining passive in the face of wrongdoing. High Noon is running at the Harold Pinter Theatre in London until March 6. It demonstrates how a classic western can be revitalized with music, thoughtful direction, and committed performances, proving that some stories remain urgent across generations.