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HIGH SCHOOL MUSICAL

★★★

Troubador Wembley Park

HIGH SCHOOL MUSICAL

Troubadour Wembley Park

★★★

“the production’s infectious energy and sense of fun carry it through”

Twenty years after becoming a global phenomenon, ‘High School Musical’ returns to the stage with a refreshed experience ready to win over a new generation. While some tweaks may divide fans, expanded character beats and renewed sparkle delivers plenty of feel good charm.

Basketball star Troy Bolton and gifted newbie Gabriella Montez dare to break free of East High’s social cliques through their shared love of singing. Will they stick to the status quo or soar beyond expectations?

David Simpatico’s book keeps the plot lean, focusing on the few days between announcing and casting the school’s musical. Some of the new school-broadcast and drama-class sequences could be tighter, but this version smartly expands the character motivations, creating a slightly more multifaceted feel than the film. Sharpay and Ryan benefit most from this, while Troy and Gabriella remain more archetypes than fully realised characters. Still, that’s true to the film and the added heart is a notable improvement.

With music adapted and arranged by Bryan Louiselle, the score delivers all the beloved hits plus new numbers ‘Cellular Fusion’ and ‘Counting On You’. While these additions may lack the catchy appeal of the originals, they help the expanded story flow. The bigger issue is repetition: nearly every major song has a reprise. While there’s no denying the audience’s appetite for the hits, the pared-back first outing of ‘We’re All In This Together’ leaves the climactic reprise with less punch than it deserves.

Co-directed by Joseph Houston and William Whelton, this production is packed with inventive touches that turn a show into an experience, from onstage seating to action spilling into the auditorium – even if they miss a trick by not including the onstage audience more. Troy and Gabriella’s literally soaring ‘Breaking Free’ is pretty special, despite the audible seatbelt clicks. While some character moments could dig deeper and a handful of scenes are lost to tiny screens, the production’s infectious energy and sense of fun carry it through.

Aaron Renfree’s choreography strikes a smart balance between nostalgia and fresh ideas, keeping numbers like the up-tempo ‘What I’ve Been Looking For’ close to the film while injecting new energy with a sharp basketball sequence. That said, ‘I Can’t Take My Eyes Off Of You’ lacks the intimacy it aims for, and superfans may miss the familiar ‘We’re All In This Together’ moves, but the overall effect remains upbeat, fun and unmistakably Disney.

Andrew Exeter’s set creates real game-day atmosphere, complete with pre-show crowd noise, popcorn sellers and onstage seating. Matt Peploe’s sound design adds to the immersive feel, drawing audiences into the world, however the balance can be inconsistent during ensemble numbers. George Reeve’s video design is less successful as the screens are simply too small to fully appreciate the work. Rory Beaton’s lighting embraces the show’s playful spirit, shifting from flashy sports-arena spectacle to gloriously over-the-top romance. Sophia Pardon’s costumes perfectly capture the early-2000s aesthetic, though Sharpay and Ryan’s newsboy caps cast distracting shadows. Angie Carradus and Jackie Sweeney’s wigs and hair design are equally effective, giving Sharpay a cascade of immaculate curls while keeping the rest of the cast refreshingly natural.

McFly’s Harry Judd brings warmth to Coach Bolton and proves he’s still got the vocal chops, while KayCee Stroh is delightfully flamboyant and just as dynamic on the dancefloor as Ms Darbus. Tobias Turley’s Troy pairs a soaring voice with impressive basketball skills, and Leonor Correia’s crystal clear vocals captures Gabriella’s sweetness, though both could dig a little deeper emotionally. Caitlin Tipping’s entertainingly scheming Sharpay and Luke Bayer’s confident Ryan stand out, while the supporting cast deliver strong vocals, sharp choreography and infectious enthusiasm, even if the tempo drags a smidge in places.

‘High School Musical’ is a winning, feel-good night out even if some elements could get their head in the game. The infectious energy, beloved songs and enthusiastic performances ensure audiences will have a great time.


HIGH SCHOOL MUSICAL

Troubadour Wembley Park

Reviewed on 20th October 2026

by Hannah Bothelton

Photography by Matt Crockett

 

 

 

 

 

 

 

HIGH SCHOOL MUSICAL

HIGH SCHOOL MUSICAL

HIGH SCHOOL MUSICAL

HIGH SCHOOL MUSICAL

THE FROGS

★★★

Southwark Playhouse Borough

THE FROGS

Southwark Playhouse Borough

★★★

“Dan Buckley’s Dionysos and Kevin McHale’s Xanthias make a wonderful double act”

“The Frogs” – the musical ‘freely’ adapted by Stephen Sondheim and Burt Shevelove from the ancient Greek comedy by Aristophanes – opens with a paradox. The time is the present and the place is Ancient Greece. This tells us that the writers have given themselves license to tweak (to put it politely) the original for a modern audience. The central premise, however, needs little updating: Aristophanes used his play – at a time of crisis – as a biting satire of politics and religion, bemoaning the corruption inherent in society’s leaders and calling for the rejection of the status quo. Two-and-a-half-thousand years on we can pretty much still relate to that. What the writers have done is sprinkle it with contemporary references, added a fair dose of Sondheim’s inimitable music and lyrics and, with the help of Nathan Lane (‘even more freely’ adapted) dished up a couple of hours of mind-bogglingly, zany and funny – but inconsistent – musical theatre.

The title is a touch misleading. Yes, there are frogs. Frogs that populate the River Styx (of course!) and close Act One with a droll and incisive choral number; but beyond that they barely make an appearance. What “The Frogs” focuses on is the epic journey of Dionysos and his slave Xanthias into the Underworld and back in a bid to put the world to rights. Dionysos believes only art can save civilisation but contemporary dramatists aren’t up to scratch, so he decides ‘to go to Hell and back’ (this particular joke is milked for all its worth) to bring George Bernard Shaw back from the dead. He finds Shakespeare down there, constantly at loggerheads with Shaw. The two of them end up fighting it out in a linguistic dual, competing to see which one Dionysos will choose to accompany him back to the land of the living.

The journey is a bit of a meandering rollercoaster. Or rather log-flume, or water-chute. Although mercifully no water tanks have been employed to create a realistic representation of the Styx. Instead, Samuel Biondolillo’s evocative lighting, and Libby Todd’s clever breakaway set depict the worlds we travel through. Dan Buckley’s Dionysos and Kevin McHale’s Xanthias make a wonderful double act. They don’t break the fourth wall, they just take it for granted there isn’t one – which makes their on-stage chemistry and affectionate rivalry as master and slave, even more of a delight to be immersed in. They draw us into the story with ease, and we are willing accomplices. Joaquin Pedro Valdes is having great fun as the ab-flexing Herakles. Carl Patrick’s boatman Charon ups the fun stakes, veering dangerously close to indulgent, but Georgie Rankcom’s strong directorial hand keeps the cast firmly in check, possibly with the exception of Victoria Scone, as Pluto, who brings her Drag Race persona crashing onto the stage with the confidence of a fully-fledged Goddess. (Scone plays Pluto only until 31st May, after which a rota of other performers takes a week each).

The comedy’s sharpness is honed during the later stages of the show, when Bart Lambert’s Shakespeare and Martha Pothen’s Bernard Shaw tackle each other with words like drunkards brawling with bottles. Lambert’s and Pothen’s comic timing and grasp of their respective character’s linguistic styles is extraordinary and the humour, whilst more subtle, becomes increasingly satisfying the more it ditches its pantomime pizzazz.

More of a play with music than a musical, “The Frogs” is full of anachronisms and topical updates that bring the message closer to a contemporary audience. Even closer than the musical’s 1970s premiere, with references to influencers and Andrew Lloyd Webber’s ‘Bad Cinderella’ – among many others. This does add to the already heady mix of styles that can be a bit alienating, and the pointed political commentary (‘you get the leader you deserve’ for example) is a touch blunt and predictable. But there is no denying the sheer sense of fun, anarchy and silliness. Definitely worth hopping along to.



THE FROGS

Southwark Playhouse Borough

Reviewed on 27th May 2025

by Jonathan Evans

Photography by Pamela Raith

 

 


 

 

 

 

 

Last ten shows reviewed at Southwark Playhouse venues:

RADIANT BOY | ★★½ | May 2025
SUPERSONIC MAN | ★★★★ | April 2025
MIDNIGHT COWBOY | ★★ | April 2025
WILKO | ★★★ | March 2025
SON OF A BITCH | ★★★★ | February 2025
SCISSORHANDZ | ★★★ | January 2025
CANNED GOODS | ★★★ | January 2025
THE MASSIVE TRAGEDY OF MADAME BOVARY | ★★★ | December 2024
THE HAPPIEST MAN ON EARTH | ★★★★★ | November 2024
[TITLE OF SHOW] | ★★★ | November 2024

 

THE FROGS

THE FROGS

THE FROGS