LOVE QUIRKS

The Other Palace

★★★

“the energy truly kicks in as the quartet come together with some powerful harmonies”

Quirk (/kwəːk/): 1. A peculiar aspect of a person’s character or behaviour (noun) 2. (with reference to a person’s mouth or eyebrow) to move or twist suddenly, especially to express amusement or surprise (verb). “Love Quirks” – a new musical with music and lyrics by Seth Bisen-Hersh and book by Mark Childers – incorporates both the noun and the verb in its title. Indeed, ‘love’ is very much a fifth character in this intimate four-hander, complete with all the quirks imaginable. However, despite some genuinely funny moments, there are few twists and fewer surprises in what is essentially a song cycle rather than a fully-fledged musical.

There are eighteen numbers, spread evenly across two acts, that attempt to cover all aspects of love as experienced by four flatmates. Unrequited love is the dominant theme, but we are also offered insights and anecdotes exploring the minefield of dating, marriage, divorce, rejection, one-night-stands, sexuality, sex, romance, peer pressure and expectations. A mix of solos, duets and ensemble pieces, they are delivered with vigour and virtuosity by the cast and there are some beautifully tender moments. There is a tendency, however, to belt out the numbers; a technique that overflows into the dialogue. Moments of high emotion too often come across as mere shouting.

Flatmates Stephanie (Clodagh Greene) and Lili (Ayesha Patel) share their rented accommodation with gay best friend Ryan (Lewis Bear Brown). Although for Lili, Ryan is more of a best friend – she has harboured an unrequited crush on him since her schooldays. Ryan announces he is moving out and sublets his room to Chris (Tom Newland). Chris and Stephanie have history. They dated long ago, and Stephanie holds a bit of a grudge. Meanwhile they are both on the rebound: Stephanie is going through a divorce, and Chris is fleeing a girlfriend who cheated on him. Not wanting to be upstaged, Ryan too has his share of heartbreak. Only Lili is fancy free, although her freedom confines her in self-doubt and longing which steer her towards some dubious, drunken decisions. Basically, they are all pining for what they can’t have.

“It Never Works” – the opening number – sums this up and sets up the premise. It takes a while to warm up, but the energy truly kicks in as the quartet come together with some powerful harmonies. “Let’s Just Be Friends” continues the theme. The banter between songs verges on the inconsequential, and the characterisation lacks any real dimension. Childers’ script comprises chit chat rather than any real narrative, much of which is predictable. We know where it is going, and there are clear signposts leading us to the next song.

The songs themselves are well crafted (except that nearly all of the numbers end on the same base-note, staccato button). “Darling, I Loved You” shows Greene at her most tender in a song that subtly segues into “Who Knows Why?” during which Patel picks up the lead melody. There is a well-balanced mix of quirky solo numbers and rousing duets and ensemble pieces. Act One closes with the titular “Love Quirks”, during which we can imagine the full sound of the composer’s dream, rather than the solo piano accompaniment. Pianist/Musical Director, Tom Noyes, adds dynamic character to certain songs that are in danger of sounding just like the last. “Just Get Over It” is a surprise tango that is a lyrical delight, although director Cecilie Fray could do more with the musical staging.

There is no denying that this is a fun musical. Innovative – not really. Shallow – perhaps. Cheesy – probably. “Love Quirks” has some fine musical moments that stand alone, which is just as well as the story line is too weak to support it by itself. The fine performances from a talented cast certainly keep it from falling in on itself. A more solid framework would make this a sure-fire, quirky hit.

LOVE QUIRKS

The Other Palace

Reviewed on 28th September 2025

by Jonathan Evans

Photography by Anna Clare

Previously reviewed at this venue:

50 FIRST DATES: THE MUSICAL | ★★★★★ | September 2025

SAVING MOZART | ★★★★ | August 2025

THE LIGHTNING THIEF | ★★★ | March 2025

HOMO ALONE | ★★★ | December 2024

JULIE: THE MUSICAL | ★★½ | June 2024

CRUEL INTENTIONS: THE 90s MUSICAL | ★★★★ | January 2024

LOVE QUIRKS

★★★★★

“thrilling, raw, moving, and completely unforgettable”

If Shakespeare were here today, he’d be proud – perhaps even moved – to see his timeless tragedy reimagined in such a vibrant, daring, and emotionally charged way. This co-production between Hackney Empire, Belgrade Theatre and Bristol Old Vic, directed by the talented Corey Campbell, brings Romeo and Juliet into a new era while preserving every beat of its emotional core.

From the moment the lights dim, it’s clear this isn’t just another retelling. The production is bold, fresh, and utterly magnetic – a true celebration of youthful energy and artistic innovation. The language has been masterfully reworked, blending Shakespeare’s original lines with powerful additions of rap, R&B, and contemporary rhythms. It’s not just modernised – it’s recharged.

Leading the cast are the outstanding Kyle Ndukuba as Romeo and Mia Khan as Juliet. Despite their young age, both performers bring a striking level of depth, charisma, and authenticity to their roles. Their chemistry is electric, their performances emotionally resonant, and their command of both classical and modern language is simply superb. They are, without a doubt, rising stars to watch.

But it doesn’t stop there. This production is blessed with an exceptional ensemble, each member leaving their mark on the stage. Dillon Scott-Lewis, in the role of Mercutio and ensemble, is a standout. He fuses dance, rap, and acting into a single, seamless performance that demands attention. Andre Antonio in the role of Benvolio also brings incredible energy, captivating the audience from the very beginning with charisma and presence that lights up every scene he’s in.

A particularly memorable performance comes from Lauren Moakes as Lady Capulet and Ensemble. Her presence on stage is powerful and versatile – seamlessly blending acting, singing, and dance. She brings emotional depth to her role, with vocals that resonate and movement that enhances the intensity of each scene.

Set against a contemporary backdrop (set and costume design by Simon Kenny), this Romeo and Juliet becomes not only a love story but a commentary on modern life, youth, community, and division. The story of the star-crossed lovers is no less heartbreaking, but it feels more urgent and relevant than ever.

The live music is another key player in this production’s success. The band – Elijah Aduu (ERA) on guitar, Mark Holder on drums, D’evante Seepaul-Craig on keyboard, Chris Jones on bass, Aaron Blake (Keys 1), and Samuel Cummins (Keys 2) – delivers a phenomenal soundtrack that pulses through the performance. Their music does more than support the actors – it lifts, drives, and elevates the emotional journey of the play. It’s the kind of soundtrack you’ll wish was available on Spotify the moment the curtain falls.

This Romeo and Juliet is not just a performance – it’s an experience. It’s an extraordinary fusion of classic literature and contemporary culture, brought to life by a fiercely talented cast and creative team. It’s thrilling, raw, moving, and completely unforgettable.

Whether you’re a lifelong Shakespeare fan or discovering the story for the first time, this production is a must-see. Bold in vision and rich in execution, it’s a beautiful reminder that great stories never die, they simply evolve.

Tag Archives: Ayesha Patel

LOVE QUIRKS

★★★

The Other Palace

LOVE QUIRKS

The Other Palace

★★★

“the energy truly kicks in as the quartet come together with some powerful harmonies”