Category Archives: Musical

Film & TV, Musical, Theatre

Review Burlesque the Musical, Wales Millennium Centre by Bethan England

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out of 5 stars (3.5 / 5)

Burlesque certainly is what the Millennium Centre tagline promises, ‘a big new musical’! It’s full of bright lights, flashy costumes, high octane dance numbers and massive vocals across the board. Based on the film of the same name starring Cher and Christina Aguilera, it’s sure to have a cult following and a passionate fan base.

Following the events of the film closely, Ali heads off to New York City to find her estranged mother; a mother who just so happens to run a Burlesque club, full of huge characters, lots of drama, and plenty of backstage shenanigans. Along the way she goes from waitress to centre stage, finds love, foils a dastardly plot to put the club under and, ultimately, reunites with her mother, Tess.

The strengths of the show definitely lie in its incredible performers. The vocals are insanely good, with the performers easily belting out the huge numbers. Gracie O’Brien shines as Ali, effortlessly hitting the audience with big note after big note. She has some of the biggest, most difficult numbers in the show and she doesn’t falter once. More brilliant vocals come from Faye Brookes as the highly flawed, but highly likeable Tess. Her duets with O’Brien’s Ali are particularly lovely. Ryan Carter delivers style and sass as Sean and delivers some of the biggest numbers of the show with ease.

The dancing is slick, fast paced, undeniably full of the sex appeal that makes Burlesque so popular as an art form. The whole cast and ensemble bring huge energy and passion to every number; the talent on stage here is palpable. The large numbers are definitely a highlight and even the smaller numbers feature some exceptional movement and dancing.

A slight weakness for me were antithesis to this high octane energy, some of the scenes feel slower and more plodding by comparison. There are some really funny and heartfelt moments throughout but some of the important plot points seem a little lost in the longer scenes.

All in all though, it’s a night to remember whether you have seen the film or if you’re brand new to the story. It’s big, it’s flashy, it’s the perfect night out and definitely worth grabbing a ticket for! This big new show is the perfect antidote to a long day at work and will make you want to leave your seat and dance along with them.

Festivals, Musical, Theatre, Uncategorized

Review, Acid’s Reign, Relish Theatre, Edinburgh Fringe, By Hannah Goslin

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It’s very rare that you get to see a show that you saw the very early version of and get to review a second time. Long ago, the days of Vault Festival allowed me to see the first iteration of Acid’s Reign and it’s fantastic to see how it has come along.

Acid’s Reign sees Drag Queen’s take on the climate crisis. In a chance meeting, Alex Acid and Ria Listic become firm friends, joining their artistry to fight against the climate through cabaret. In the need to get the message across, social media and commercialism comes knocking and the chance of fame over saving the world becomes a difficult choice. What also comes into question is friendship and comradery in the queer community.

I’ll try not to compare the first version of this show to the current. But it would also be remiss of me not to make some short comments. Firstly, the story has completely changed. The infant version of this show focused on Drag Queens as different elements and the impact on them, speaking from those points of view. As this was also their first attempt, the production value was smaller due to this and possibly funding and now the production looks almost west end ready. One wouldn’t be critical of this because both versions in their own merit have something. It’s therefore unfair to compare them but only to say, it’s wonderful to see in some what the trajectory of a show from its early days and the grind and development of it. Two of our performers are from the beginning – Scarlett Harlett and Jamie Fuxx return in this production and it’s wonderful to see them again.

As mentioned, the production value has increased. The stage is well set and its use of it, props and use of these for scene changes, such as rolling stools, helps with the easy and seamless change. Accompanying the aesthetic and wonderful and quintessential Drag outfits – camp, fun and unusual. One that sticks out is one outfit, worn by Victoria Scone, of plastic tape. It’s all in keeping with what we know of Drag and is as fabulous as we expect.

Like any musical, the original songs and the slightly campy acting in between work so well and have that essence of musical theatre. Victoria Scone has such an expressive face that she elicits laughter and slight hammed up acting which fits perfectly for the puns, the character and the production. The songs are catchy, fun and hummable. They are easily ones that could become cult classics and likely to be seen lip synced in plenty of queer bars and shows.

All the performers are well skilled and very professional in this musical theatre piece. They embody their characters with real ease and we get the feeling of true friendship, of jeopardy and when the friendship breaks down, it feels very real. Like any good musical, we are invested but are brought out slightly and rightly due to the unnatural use of a song during the scene to make this theatrical.

Acid’s Reign (2.0) is a fantastic new musical that could easily become a cult classic amongst the theatrical community. With a political message, brilliant performers and a real celebration of queer culture, Acid’s Reign could become a new musical obsession.

Relish Theatre – Pleasance Theatre

Festivals, Music, Musical, Theatre, Uncategorized

Review, A Stan is Born – ENCORE, Alexis Sakellaris, Edinburgh Fringe, By Hannah Goslin

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out of 5 stars (3 / 5)

Stan to a millennial is likely to produce memories of Eminem and Dido in the noughties with their hummable, sad tune. The video is about an obsessive fan and where this obsession can lead to in the darkest of places.

Fast forward in time and the word Stan now means to be a fan of something, amongst the youth. Everyone has something, whether it’s a person, place, thing. And Alexis Sakellaris takes this concept and in turn provides a story of finding oneself and discovering ones sexuality in an unusual place. When Sakellaris moves from New York with their family to rural Germany, they find solace in divas and their music, and, in turn, this leads them to friendship and self discovery.

A Stan Is Born firstly takes its name from the film. This is where the comparison ends but the reference aims to draw in one of the many famous stars that they “stan” but also in a hint to the plot later – this is how Sakellaris discovers their voice (in more ways than one) and pushes their trajectory into the arts. With unique songs created and performed by Sakellaris, their story is told through a verbal narrative, original and satirical songs sung and played on the piano and a healthy dose of audience interaction. Sakellaris’s engagement is sincere and friendly, often moving them to being somewhat off-piste but with this, we are definitely getting something unique to other audiences.

The songs are fun and enjoyable but lacked a little variety. While all original and different in concept, there was not really one that I came away with as an ear worm and they slightly felt similar to one another. The blurb for this show notes as a “gay Bo Burnham” but I felt this was slightly misleading as a comparison – Burnham’s songs are all entirely different in delivery and have a often taboo sense to them; this wasn’t the intention with Sakellaris’s songs and it wouldn’t be fitting if it was. It feels as if it would be all too easy to compare this to Bo Burnham as a vague concept, like one women plays at Fringe are all compared to Fleabag.

Their story in itself is very endearing and Sakellaris does well to translate this to us in an honest and funny way, without detracting from the intention. We get an overview, with them swapping into multiple languages and characters, moving levels and letting down their actual hair to represent certain Divas, which all gives us enough to understand a life we very likely cannot relate to as it is so original. But there did feel a bit of nervousness about Sakellaris and this unfortunately slightly fed through their performance.

A Stan Is Born is a heartfelt, unique storytelling piece of theatre, with one of a kind music and a one of a kind tale. It just felt that Sakellaris needed a bit more confidence in this to deliver it.

Musical, Theatre

Review Jersey Boys, Wales Millennium Centre by Bethan England

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out of 5 stars (4 / 5)

After a 12 year stint on Broadway from 2005 to 2017, 9 years in the West End and multiple tours across the world, Jersey Boys marks its 20th anniversary with a new tour sprawling across the United Kingdom. So, with the show ‘working its way back to’ Cardiff, does it still pack a punch and give us all a night to remember in 2026?

The audience demographic of the show is certainly varied, with all ages settling down around me to watch the rise to fame of four blue-collar boys from Jersey. This proves that the music is still as popular as ever and there was plenty of toe tapping and a quick jump to our feet to join in at the curtain call. The songs have truly stood the test of time, hit after hit ringing out from the Donald Gordon stage. It’s great to see that a band that started out in the 60s is still relevant and enjoyed by all age groups.

Jersey Boys differs from other Jukebox musicals in the way it chooses to tell its story. With each band member having an opportunity to tell the story in each of four seasons, (see what they did there?!), it means the plot never has a bias from one band member’s perspective. It also means that each cast member gets an opportunity to shine and connect with the audience. It does sometimes mean that some of the more emotional moments are slightly glazed over, but in a production that needs to pack so much in, this is a minor criticism.

The quartet themselves are excellently portrayed here. We start with Carlo Boumouglbay’s Tommy DeVito, the self proclaimed, one that started it all. He is a charismatic bad boy and Carlo delivers personality in spades. Even when he lands himself, and the band, in financial troubles, you can’t help but love him. Next up to the narrator role is Toby Miles’ Bob Gaudio. He adds another layer to the story of the band, the somewhat softer side, showing us the timeline of the band’s rise to success. Toby also excels in his role; the more reserved band member but holding his own amongst the more boisterous band members.

Third up is Nick Massi, portrayed by Lewis Kennedy. His comic timing is brilliant; his resonant low voice and dry sense of humour is captured so well by Kennedy. He delivers the less glamorous side of the band, giving us the ‘warts and all’ elements of the band’s climb to stardom. Finally, we hear from the frontman himself, Luke Baker’s Frankie Valli. His voice perfectly captures the infamous high falsetto of the man himself and he is certainly a worthy leading man. His rendition of ‘Can’t Take My Eyes Off You’ is a showstopper and earns a worthy, long lasting, huge applause. Certainly a highlight of the evening.

The tour is the latest in a long line of productions of Jersey Boys and I am thrilled the show is still going as strong as it is. It is a Jukebox musical but it stands apart from others in the strong way it chooses to tell its story, its excellent songs which still truly stand the test of time, and an excellent cast who truly delivers. If you really want an evening that’s worthy of shouting ‘Oh What A Night!’ then Jersey Boys is in Cardiff for two weeks only. Don’t miss out on this spectacular 20th anniversary production.

The production plays until the 22nd August, more information and tickets can be booked here

Film & TV, Musical

Review The Karate Kid, The Musical, Wales Millennium Centre by Bethan England

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out of 5 stars (4 / 5)

Having never seen the film, I went into The Karate Kid: The Musical with minimal expectations. I have obviously seen the infamous crane kick, heard the iconic ‘wax on, wax off’ and had a basic premise of the plot of the underdog rising up to win the Karate Competition against the bully, with the aid of the slightly enigmatic, but hilarious Mr Miyagi.

What I found in this production was a hugely pleasant surprise. It’s a well paced script, with lots of great songs, incredible lyrical, beautiful choreography, clever staging and set and a really fantastic cast! The beats of the film are all hit here and I was informed by my friend, (who has seen the film!) that the final karate competition fights were recreated incredibly faithfully. Book Writer, Robert Mark Kamen, has captured the essence of the film to great effect, whilst expanding certain key scenes, such as the drunken Miyagi scene, to quite devastating effect.

Director, Amon Miyamoto and choreographers, Keone and Mari Madrid weave a seamless story on stage. The choreography is stunning and perfectly executed by a talented ensemble, with incredible timing and poise. They shift seamlessly between the soft, lyrical movements of the karate lessons with Mr Miyagi to the harsher, stronger movements of the Dojo of the Cobra Kai. This is also directed ably with them bringing on set, remaining on in scenes to become the various backdrops of the show, (including some excellent buzzy flies to catch with a certain set of chopsticks), and creating the karate sequences of the production. My particular favourite was the final crane kick which was executed seamlessly with the aid of these talented performers.

The set is also very cleverly designed to evoke the dojo, with sliding screens, freestanding ones that are moved onstage and offstage to great effect, and other interesting set pieces which move us with ease between the various settings. The set never imposes upon the action and in fact only heightens the depth and interest of the different environments that they create. The lighting too is excellent, with a fantastic colour palette which aids in conveying the story.

The cast are, without exception, incredible. We had several understudies on opening night at Cardiff, but there was not a pause or stutter in sight, the complicated fight choreography delivered to perfection. I adored Sharon Sexton as Lucille, Daniel’s slightly chaotic, yet loveable mother. If I Could Take His Pain Away was sang beautifully, a real highlight of the show. Abigail Amin portrays Ali (with an ‘i’) Mills and also has a fantastic powerhouse voice. Her rendition of Who I’m Going to Be was a heartfelt ‘I want’ number which was beautifully delivered.

Gino Ochello was a truly wonderful Daniel LaRusso; his pain at losing his father is palpable; he is instantly endearing and loveable as the titular Karate Kid. He delivers every musical number with incredible sincerity; his voice easily switching between a beautiful softer resonance and a fantastic, strong belt. Finally, Adrian Pang truly embodies Mr Miyagi, owning every moment he steps out onto the stage. He has the audience in the palm of his hand, having only to say a single word or give one look to have the audience chuckling. His performance is nuanced, and the more somber moments had tears rolling down my cheeks. He is worth the admittance price alone; this is a truly lovely interpretation of the character.

New musical theatre pieces can be hit or miss admittedly, but this is a sure fire win; the pacing is good, the dancing and movement is exceptional, the songs are a great listen and the performances are really brilliant. In a time where audiences won’t always take a chance on new work, I really implore you to go and watch this production; it really deserves to succeed and to have a life beyond this premiere tour.

Musical

Review The Bodyguard, Wales Millennium Centre, by Bethan England

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out of 5 stars (4 / 5)

From the moment Mireia Mambo bursts onto the stage, complete with a high octane, hugely talented ensemble, the tone is set for an incredible production of The Bodyguard at the Wales Millennium Centre.

Since it’s opening in the West End in 2012, the show has endured, with countless tours sold out across the world, plus a triumphant return to the West End in 2016-17. Based on the infamous 1992 film, starring Whitney Houston herself, it features an incredible array of Whitney’s most famous hits, such as Greatest Love of All, Queen of the Night, I wana dance with Somebody and of course, I Will Always Love You, which Mambo performs with fire and determination. She brings a huge intensity to the role, flipping between the strong, no-nonsense, superstar and the loving mother of her ten year old, Fletcher. She has a dynamic stage presence and owns the stage in every number, with fantastic vocals and amazing dance ability.

Adam Garcia has a brooding intensity as Frank Farmer, the titular Bodyguard. It is a shame we don’t get to hear his real vocal ability, but I must say, his rendition of I Will Always Love You at a karaoke bar is one of the highlights of the show. The relationship between the two is passionate and believable, but so are his quieter moments, such as with Fletcher and at the cabin where he finally reveals his softer side.

Sasha Monique portrays the overshadowed sister, Nicki Marron, but her voice more than holds it own against Mambo’s. She has a richness in tone and an excellent ability with dynamics in the classic songs. Her beautiful version of All At Once was a pinnacle of the show.

The whole cast are excellent, but the ensemble deserves special mention. They are incredibly talented; the dance numbers are high octane spectacles which meant I didn’t know where to look next! They truly create the atmosphere of the show and the final curtain call is especially jaw dropping.

Staging is simple but effective, with slick movement of curtains and set pieces moving on and off stage seamlessly. It serves to never slow down the pace of the production. There is excellent use of projection throughout, including that memorable image of Rachel in Frank’s arms, and a beautiful final montage of their relationship during I Will Always Love You. Lighting is also excellent, drawing the eye and adding depth and drama to the already intense sequences. Along with beautiful costuming, the production values here are very high.

Although it’s a show that’s been around for 14 years, it’s always nice to see a new iteration, and this tour certainly lives up to its predecessors. With songs that you can’t help but tap your foot to, along with some of the most beautiful, powerful ballads in pop, it’s one that still stands the test of time, even 34 years after the original film was released.

Musical

REVIEW THE BODYGUARD – WALES MILLENNIUM CENTRE, BY GWYNETH STROUD

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On Monday 20 July, Wales Millennium Centre hosted the opening night of a six-day run of the smash hit, award winning musical The Bodyguard. Based on the 1992 Oscar nominated film starring Whitney Houston and Kevin Costner, the musical version has to date played to over 3.9 million people in 15 countries.

Superstar Rachel Marron (Mireia Mambo) is in danger for her life, being harassed by an unknown stalker. Hired to protect her is former Secret Service agent turned bodyguard Frank Farmer (Adam Garcia). Both expect a conventional working relationship, but what was not written into their respective scrips is that they would find themselves falling in love.

Mireia Mambo performs the Houston songbook with raw emotion and vocal heft. There is dynamic intelligence to her voice which allows for quieter, more contemplative renditions of some songs at the outset, only to unleash a more powerful and passionate version as they develop. She is skilful in illustrating Rachel as a loving mother to son Fletcher, fiercely independent to the extent of putting herself in danger, and playful in her romantic advancement towards Frank. Adam Garcia is faultless in the role of Frank, acutely conscious of the significance of his role, aware of his growing fondness for Rachel and Fletcher, and professional enough to walk away at the right time. We feel real empathy for Rachel’s sister, Nicki, secretly in love with an unaware Frank, unhappy in both her professional and personal life and destined for tragedy. Sasha Monique’s softer, yet still powerful, voice encompassed the complexity of this role perfectly, providing a beautiful contrast with that of Mambo. We hear no words from stalker James-Lee Harris (apart from his uncharacteristic tenor vocal at the end) – none are needed.

From the explosive opening dance sequence featuring dramatic fire effects,fear-inducing bangs and classic disco dance moves, it was clear that this was going to be a performance to remember. Throughout the show, scenes depicting Rachel’s domestic setup are illustrated primarily via lavish drapes and minimal furnishings, a deliberate contrast with the full-on showstopping song and dance scenes. Similar effects are achieved in conversations between the security staff, deploying only a vast brick wall as a backdrop.

Mention must be made of the use of both lighting and sound in this production. The quality of both the vocal and instrumental musicians was excellent throughout and, together with blood-curdling gunshots at the beginning and throughout, place sound at the heart of this production. Judicious use of lighting to depict spotlights seeking out the stalker, together with his appearance from total darkness into a brightly lit freeze-frames in true menacing style, give lighting an essential role.

Add in those whopping 80s Whitney Houston classics and you have a smash hit musical on your hands. The audience, needless to say loved it.

Musical, Theatre

Review: Mean Girls, Venue Cymru, Llandudno by Richard Evans

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Jeff Richmond (music), Tina Fey (book), Nell Benjamin (lyrics), Mean Girls UK Tour Ltd and others

Venue Cymru, Llandudno, Mon 20 – Sat 25 July 2026

out of 5 stars (4.5 / 5)

Mean Girls must rank in many peoples favourite high school romance movies, but why is it so appealing?  Of course this genre would not appeal to everyone, it was notable that the audience must have been over 80% female, but there is enough in this stage adaptation to make it a worthwhile watch for anyone.  

It is Tina Fey’s storyline that holds your attention.  A girl, Cady Heron who has been homeschooled in Kenya, starts high school in Illinois.  After suffering a culture shock, she is befriended by the most exclusive group of friends who take her on out of curiosity.  Slowly, with the help of a couple of so called social outcasts, she ‘dethrones’ the ‘Queen Bee’, Regina, and takes her place and adopts a lot of Regina’s nasty, cruel behaviours as she learns how to handle being popular so suddenly.  Naturally Cady has to face her critics, learn her lessons and all are reconciled in the end.  While this plot does not seem out of the ordinary, it is the acute observation, clever rejoinders and satirical humour that makes the story memorable. 

The cast approach this play with energy, enthusiasm and tight control.  The characterisation follows the 2004 movie which could pose difficulties, especially for Emily Lane as Cady having to follow on from Hollywood star, Lindsay Lohan.  To her credit, she is convincing in making the character her own.  The same could be said of the Mean Girls, Vivian Panka as Regina, Kara Dario as Gretchen and Sophie Pourret as Karen.  However, some of the supporting parts are also excellent, Max Gill and Georgie Buckland have great chemistry as Damian and Janis.  The teachers, Joshua Elmore as Mr Duvall and Faye Tozer as Ms Norbury portray the illusion that they are in control.  The choreography is excellent, fast moving, coordinated and varied.  There is imagination in set design, and fast transitions between scenes.  

The story has enduring appeal as it depicts quite accurately the dynamics of teenage friendship.  Girls in particular but not exclusively have been known to weaponise their friendship, using it to exclude those who want to belong, manipulating others to impose their will and then criticising even their best friends to make themselves look better.  There are no heroes or villains here, just individuals finding their identity, becoming themselves and wanting to belong to a community. Many can identify with these factors.  Even some parents could smile knowingly at the duplicitous Cady who engineers an opportunity to be on their own in the house of a weekend so they can stage a party which then got out of hand.  

There is a strong and welcome exercise in honesty and forgiveness near the end which promotes the fairly obvious idea that friendship is far more important than looking good.  The finale is great, with plenty of energy and opportunities for the cast to showcase their character.  This was met with a rousing reception and sealed the feel good ending well.  By the way, it was not Wednesday so I did not wear pink.

Film & TV, Musical

Review Annie, Wales Millennium Centre by Bethan England

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out of 5 stars (4 / 5)

A true staple of musical theatre around the world, Annie is one of those musicals that everyone knows and loves. Whether you grew up with it on a VHS tape (like me), have seen a local amateur company perform it (also me, five times…) or have seen the show before, it’s just one of those classics that just refuses to go away. And why should it? The songs are brilliant, even the lesser-known ones, there’s plenty of opportunity for some great dance numbers, there’s a rag tag group of girls stealing the show and everyone’s hearts and of course, a fluffy yellow dog to add to the mix. Who could ask for anymore?

The tour feels slick and updated whilst retaining all the charm of the original. The overture is done away with in favour of getting straight into the action. We’re directly into the orphanage and I must say, the children performing are exceptional. They truly give everything to their scenes and dance numbers. There are multiple casts of children, of course, and our Wednesday night Annie was Sophia Saravanan, who was a wonderfully endearing ‘little orphan’ with a voice entirely capable of belting out those famous numbers. I really enjoyed the interactions between the youngest cast members; they’re given the scope to act how children would in those situations and they are delightfully naughty and excitable because of it.

The chorus is small but mighty, with them making up the Hooverville residents, the staff of the Warbucks mansion, the New York tourists and performers and even the cabinet of the president of the United States. They are a hugely talented ensemble, the dance numbers are a particular highlight of the production. I really enjoyed the transition of NYC from a movie to a Broadway theatre, as it gave plenty of scope for the chorus to also be the Broadway chorus in a high energy tap number.

The cast are also excellent. The role of Miss Hannigan is shared on the tour by La Voix and Claire Sweeney, and Cardiff has Claire take to the stage. I really enjoyed her portrayal, especially her rendition of Little Girls. I also enjoyed the darker take to Lily and Rooster portrayed by Amber Kennedy and Christian Cooper and really appreciated that they were given a lot more stage time in earlier scenes to establish their characters. Easy Street with Lily, Rooster and Hannigan is a real show-stopper with excellent choreography. Our Warbucks and Grace Farrell are played by Alex Bourne and Tanisha-Mae Brown. I thought their relationship with Annie was really endearing and they both have fantastic voices to boot. No-one but You sang by Alex was a lovely, heartfelt highlight of the show for me.

With its puzzle piece map of New York backdrop (helpfully annotated by the orphans), and its all singing, all dancing portrayal of this classic show, this is really one not to miss. Make sure you stroll on down that Easy Street, because the sun will be coming out tomorrow and, ‘aw gee,’ it would be such a shame to miss it!

Musical, Uncategorized

Review Thespians, New Theatre by Bethan England

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out of 5 stars (4.5 / 5)

In Mischief Comedy’s full foray into musical theatre, we travel back in time to 534BC to Ancient Greece; the island of Ikaria to be exact, where we find Thespis and his sister, Poly. It’s Greece the Musical (but not that one) but it’s got all the traits of that well known, popular musical! Toe tapping songs, exuberant dance numbers and a cast of hugely likeable characters.

It’s also got all the usual traits of a classic Mischief show, with puns galore, clever one liners, the wittiest lyrics I’ve heard in a while, pastiches of other media (in this case, Andrew Lloyd Webber gets a few gentle jibes) and physical comedy which had the audience in stiches.  The writing team of Jonathan Sayer (co-writer of The Play That Goes Wrong, Peter Pan Goes Wrong and The Comedy About A Bank Robbery) and Ed Zanders (musical director, Mischief Movie Night) ensures that the classic Mischief formula is maintained whilst exploring a brand new medium for the group.

The story is about the accidental discovery of acting as all five residents of Ikaria are forced into a prayer competition in Athens to try and stave off a deadly drought ravaging Greece. The motley crew of Thespis, Poly, Adonis, Melampus and Atlas head off to Athens with a brand new concept, ready to take on the Tyrant’s competition with their mantra of ‘walking in someone else’s sandals.’ Accompanied by their trusty, if small Greek Chorus (two of them due to ‘budgetary cuts), and an all singing, all dancing ensemble, they are set to change the world and end the drought at the same time.

The cast is perfection. They certainly have both the comedic and vocal chops for the job and they deliver in spades. They had me crying with laughter from beginning to end but also deliver loads of heart too, and there are moments of genuine poignancy too. Allie Dart and Matt Cavendish don’t stop for a moment as our brilliant Greek Chorus but also filling in all the other roles too, as well as moving the Grecian set. They are full of puns, accents, personalities and seem to revel in their all-encompassing roles. The residents of Ikaria equally excel, balancing each other out to perfection. James Spence is a funny, hapless, but endearing Thespis, alongside, Claire-Marie Hall’s more sensible, reliable Poly. I really enjoyed their relationship but also their respective solos.

Luke Latchman breaks hearts as the downtrodden Atlas, and his voice is beautiful! I loved his journey of confidence building to confess his feelings for oblivious Thespis. Mia Jerome shines as Melampus, the island elder (at the grand old age of 32), and her Old Man Tango brought the house down. Marc Pickering is the ‘hero’ of the piece, as Adonis and his physical comedy is for sure, a highlight of the whole production. Finally, Rhys Taylor plays a truly riotous Tyrant; I honestly didn’t know what was coming next! They hold the audience in the palm of their hand whenever they are on stage and their voice is phenomenal.

This is a fabulous new piece of musical theatre, with pastiche, hilarity, and just sheer joyful silliness. Mischief can truly do no wrong at the moment and long may their reign of both the West End and touring theatre continue.