Tag Archives: Curtis Patrick

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

NERDS

★★★

Edinburgh Festival Fringe

NERDS

Edinburgh Festival Fringe

★★★

“Packed with technology-related puns, the script is generally entertaining”

In ‘Nerds’, Steve Jobs is a hippie-turned-leather-clad bad boy and Bill Gates a traumatised but vindictive incel. In an hour and a half, this musical charts their trajectories from garage-based geeks to some of the richest and most powerful men in the world, paying little mind to fact all the while. Despite the relatively weak script, director Nick Winston has managed to craft a highly entertaining show.

Kane Oliver Parry (as Steve Jobs) and Dan Buckley (as Bill Gates) both deliver stellar performances. Buckley’s treatment of Gates’ evolution from the butt of the joke to jeering bully is particularly satisfying, and his rapping is an unexpected treat. Jobs transforms from an idealistic hippie into a greedy tech bro, but Parry is given much, much less space in the script to flesh out this change. Teleri Hughes gives a particularly strong vocal performance as Myrtle, Gates’ love interest, while Elise Zavou as Jobs’ principled crush contributes a refreshingly critical note. The ensemble works well together and makes the creative choreography look effortless.

The set, designed by Sophia Pardon, consists of a table and a few shelving units, both on wheels, allowing for sleek and satisfying transitions. Paired with gorgeous lighting design by Matt Hockley, the show is a joy to look at. Additionally, the off-stage band, led by Chris Duffy, delivers a pleasing 80s-rock soundtrack that makes the piece feel cohesive where the writing falls short.

Packed with technology-related puns, the script is generally entertaining. However, various plotlines are abandoned as quickly as they are introduced. We hear something about a guy at IMB, a legal battle, intellectual theft, Jobs’ sudden interest in religion, etc, but all are discarded by the end of the relevant song. The ending, in which Jobs and Gates predictably give up their feud, felt unsatisfying.

Created by Jordan Allen-Dutton, Erik Weiner and Hal Goldberg in the 2000s, the tone of the musical is definitely silly, but it is not necessarily satirical. While Gates and Jobs are portrayed as self-centred and greedy, this is presented as a personal rather than a larger structural issue in Silicon Valley, and their flaws are mostly resolved by the end of the musical. The upbeat interpretation feels entirely disengaged from the right-wing, neoliberal thrust of Silicon Valley today, making the script feel rather outdated.

Nerds is not the topical, thought-provoking musical satire I was hoping for, but the talented cast and high production value make this worth a watch.

 



NERDS

Edinburgh Festival Fringe

Reviewed on 15th August 2025 at Cowbarn at Underbelly, Bristo Square

by Lola Stakenburg

Photography by Pamela Raith

 

 

 

 

 

NERDS

NERDS

NERDS