BARISTA THE MUSICAL at the Capitol Theatre

★★★

“a valiant new work with potential and moments of real pleasure”

Barista The Musical is a new, original production that deserves recognition simply for not being based on an existing format or film franchise. In a time when much of musical theatre leans on familiar franchises, this fresh work is a bold effort. While it doesn’t always hit the mark, there’s enough here to applaud.

The show opens with a dramatic gut-punch as Isabella (Sara Bartos) leaves Colombia to study in London, seen off by her protective brother, Luis (Daniel Lobo). It’s 2006, and though Luis insists this is for her own good, an undercurrent of danger lingers. A flashback to 20 years earlier reveals their father (Marc Serratosa) being murdered by his business partner, Matias (Jay Faisca), followed by an implied rape of their mother, Maria (Charlotte Shalkey). This emotionally charged opening is unexpected, given the lighter tone suggested by the show’s marketing.

Scene 3 introduces us to Scott’s Café, an independent London coffee shop around which the plot revolves. In the effective montage number Want a Coffee, we witness the passing of time from 2006 to 2009. Through brief snapshots, we observe a pregnant woman who progresses to having more children, a man who starts with two dogs and ends with one, and other locals whose lives subtly evolve. It’s a clever, engaging sequence that showcases the versatile six-person ensemble and gives us a sense of the broader community.

However, the lead characters lack the same connection. Andy (George Crawford), the café owner, is in a romantic relationship with Isabella, who works at the café while studying at university, but there’s little chemistry between them. It’s hard to understand what Isabella, the central focus, sees in him, and their relationship feels underdeveloped, weakening the story’s emotional core.

Musically, the show has poignant moments. Andy’s solo Proud of Me reflects on his childhood and his grandfather, from whom he inherited the café, while Isabella’s Stronger, the Act 1 finale, delivers a powerful moment of resolve. Sara Bartos carries the emotional heft of the show and is an engaging stage presence, particularly in the Spanish-language song La Única Manera, where her emotions are deeply felt despite the language barrier. George Crawford brings charm to his role, though his character feels less fleshed out.

On the lighter side, the comedic numbers shine. No Chance, where bankers reject Andy’s loan request, is a satirical highlight that sets the stage for a shady business deal threatening both his relationship with Isabella and his café. Another standout is Smoothie Man, performed by Sue (a comedic force and guardian-angel-like figure played to perfection by Colleen Daley), who brings the house down with witty double entendres like “squeeze me, zest me, juice me,” while being lifted, spun, and twirled by a trio of men in gold lamé. Sue’s banter, complete with her obsession with Zumba and references to Liam Neeson’s “particular set of skills,” firmly roots us in 2009.

The choreography, by Strictly Come Dancing’s Pasha Kovalev, shines particularly in the comedic numbers and later in the second half when the action returns to Colombia. The Latin American rhythms and a sultry tango sequence add vibrant energy, contrasting with the earlier scenes in London.

There’s a lot percolating in Barista The Musical—perhaps too much. With book, music, and lyrics by Nigel and Anna Newman, several plot threads are introduced but left unresolved. Still, director Sarah Redmond keeps things engaging, with the action moving briskly enough to hold attention even when clarity falters.

In the end, Barista The Musical is a valiant new work with potential and moments of real pleasure. It’s not a perfect cuppa, but in a theatre landscape dominated by adaptations, it makes for an engaging night out.