THE ENDLESS HOTEL

Omnibus Theatre

★½

“Despite flashes of charm, the show suffers from uneven storytelling”

‘The Endless Hotel’ bills itself as a dreamy sanctuary for creativity – a new gig theatre musical where imagination checks in and never leaves. Despite its lofty ambitions, it drifts into a slumber with bland storytelling and forgettable melodies. There are glimmers of heart and sincerity, but for a show about nurturing creativity, it’s disappointingly low on spark.

‘The Endless Hotel’ holds the power of dreams. Myra, an unappreciated cleaner, longs to become one of the hotel’s sought-after singers. When auditions open, she sees a glimmer of hope – until Adam, the hotel’s outgoing star, cons her into handing over her room keys. As Adam leaves, he asks Myra to head down early – but her unhearing right ear misses this. Luckily, she also avoids becoming another victim in Adam’s quest to seize the hotel’s dream power. Myra’s the only one who can save the hotel and the people in it – but can she find the courage to believe in herself?

Presented by Weaver Line, the writing needs significant work. The convoluted premise demands heavy exposition, making for a sluggish start. It gets better once it settles into its magical, dreamlike rhythm, but continues to unfold with predictable beats. Despite flashes of charm, the show suffers from uneven storytelling, with some plot points over-explained, others barely touched, and a notable lack of dramatic tension. The stakes remain unclear, leaving the audience adrift in a narrative that struggles to define itself. Tonally, it wavers between sincere drama and pantomime, never quite committing to either. The result is a production that feels caught between genres and – ironically – unsure of its own voice.

The direction makes imaginative use of props, with a black and silver scarf becoming rivers, icicles and magical capes. Though the sudden shifts from acted scenes to static musical numbers stall the show’s momentum.

For a gig theatre piece written by a band, the music is surprisingly forgettable. While a few numbers show flashes of musical interest, the score leans heavily on four-chord structures with somewhat clunky lyrics. All songs are performed by a single lead vocalist, which, in a two-hander format, creates an imbalanced dynamic and reduces the scope for structural and harmonic variety.

The staging is stripped-back, centring on a piano and guitar in keeping with the gig theatre vibe. Costume choices offer moments of whimsy, notably a scraggly jacket cleverly doubling as the wings of a talking bird. However, the technical elements falter: sound levels are uneven, with the guitar overpowering other components, and muffled microphones frequently obscure lyrics. Lighting design lacks nuance, relying on basic colour washes for dialogue and jarring flashes during musical numbers, which undercuts their emotional sincerity.

The two-hander cast, comprised of Sally Horowitz and Benjamin Way, demonstrate musical skill. Horowitz’s breathy alto, coloured with folky warmth, pairs well with Way’s confident guitar work. However, the score underuses Horowitz’s upper register and gives Way little more than basic backing vocals, missing opportunities for real vocal prowess. On the acting front, the performances are uneven. Way handles multiple roles with relative ease, though occasional lapses in character cause a disconnect. Horowitz brings energy and warmth, though relies more on charm than emotional depth.

‘The Endless Hotel’ is currently more restless night than sweet dream, weighed down by issues in writing, tech and performance. While the idea has heart, the staging doesn’t quite deliver. In its current form, it feels more like a work-in-progress than a fully realised piece of theatre.

THE ENDLESS HOTEL

★½

Omnibus Theatre

THE ENDLESS HOTEL

Omnibus Theatre

★½

“Despite flashes of charm, the show suffers from uneven storytelling”