★★

“glitters with disco sparkle but dig a little deeper and it loses its shine”

KC and the Sunshine Band shaped the sound of the 70s, so it was only a matter of time before their iconic repertoire became a musical. Though like the plot of ‘Get Down Tonight’, this musical needs some help finding its groove.

Disco dancers burst onto the stage as a man in a glittery jumpsuit busts out ‘Keep It Comin’ Love’ on a keyboard. This is ‘Harry’ (KC and the Sunshine Band frontman, Harry Wayne Casey) who welcomes the audience to the story of his life – except he needs a little help making it a musical. Enter Dee and other friends who keep his tale on track despite constant interruptions, charting a life filled with love and revealing a little more about this famously enigmatic man.

Written by J. F. Lawton, the text needs work. The first half is stuffed with narrative devices that don’t advance the plot: Dee’s persistent meta-commentary on structuring a musical stalls character development, reading more like a lesson than witty critique; an ominous voice interrupts without purpose, lacking a big reveal. Key plot points are glossed over, such as Harry’s progress from recording studio stock handler to international star – we segue mid-song which I find particularly confusing. Others feel underdeveloped, such as Orly disappearing before returning in the finale, and Dee hurriedly explaining the tragic reason she won’t attend their 10-year anniversary. It aims to be a tight one-act piece, but the second half needs fleshing out; currently we end on some slightly clumsy exposition followed by a megamix which doesn’t quite rescue things. There are some beautiful moments, such as Harry and Gina’s heart wrenching rendition of ‘When You’re Alone Tonight’, but the overall impression is uneven.

Harry Wayne Casey’s iconic hits still shine, cleverly remixed to serve the story by providing both upbeat and introspective moments. That said, some are loosely woven in, such as Gina’s first song, ‘Give It Up’, and others feel confusing, such as the aforementioned ‘Please Don’t Go/I Never Thought I’d Love Again’ transition to stardom. Though happily, Casey’s score never strays too far from a hit.

Lisa Stevens’ direction and choreography bring out a lot of sparkle, unleashing an energetic cast that channels 60s and 70s soul. The liberal use of dance breathes life into the show, with high-energy choreography stealing the spotlight at times. More could be done with some moments, such as the prominently featured keys on wheels lacking an impactful reappearance; ‘Who Do You Love’ could be even more heightened, though I enjoy Gina pulling the plug.

Bretta Gerecke’s set design layers levels and can conjure locations with a single standout piece. Tom Rogers’ costumes dazzle with flirty flair, mixing hippy chic with disco glitz and even blowing Bob Mackie a kiss. Jai Morjaria’s lighting design is stunning, throwing bursts of dazzling colour in amongst iconic spotlight moments, glowing records and starry night skies. Chris Whybrow’s sound design keeps that funky horn playing but suffers from fuzzy mics and the beat dropping out at one point.

The tight-knit cast tries their hardest to bring some depth to their rather thin characters. The four leads, Ross Harmon (Harry), Adam Taylor (Orly), Annabelle Terry (Gina) and Paige Fenlon (Dee) all have cracking voices, especially Fenlon’s high belt which she sadly doesn’t get to use that often. Taylor’s Orly oozes charisma, causing a palpable spike in energy even if his accent goes off-piste. Terry’s Gina gives us naïve girl next door and heartbroken hopeful. Harmon’s Harry is charming while conveying inner conflict but, like the rest of the characters, could do with more to work with.

‘Get Down Tonight’ glitters with disco sparkle but dig a little deeper and it loses its shine. The music draws you in, but the writing pulls you out. Still, fans will enjoy the hits and a rare peek into Harry Wayne Casey’s inner world.

OSCAR AT THE CROWN

The Crown

★★★★★

“unapologetically camp, laced with sassy self-awareness perfectly in sync with a subversive core”

Lock Oscar Wilde, Mad Max, Six, and Starlight Express in a bathroom together, and what comes out? ‘Oscar at The Crown’ of course! A glitter bomb of beats, belting and reckless abandon, this spectacular show turned club night is a sparkling celebration of self-acceptance and queer culture.

Beneath the ruins of a broken world lives a band of survivors, banished before fascism ended it all. But Oscar and his technicolour troupe are thriving in exile, finally free to be themselves. What better way to sustain a new civilisation than bingeing the only media to survive with it – early 2000s TV and the complete works of Oscar Wilde. In fact, the troupe’s nightly performance of an Oscar Wilde musical is about to start – when a sudden bang on the bunker door shatters their peace and potentially some hearts. What starts as a riotous rave ends with raw reflection – a messy end to their beautiful beginning.

Mark Mauriello’s book delivers stinging social critique, flamboyant figures and inner angst, even if it doesn’t quite match Wilde’s poeticism or satirical subtlety. Though the plot is thin, there is power in revealing a more honest and broken man than Oscar ever dared to be. With some choice quotes underscoring key moments, I find the overall effect moving, emphasising how fragile our sense of self can be. Then there’s the ‘messy ending’ – abrupt, perhaps, but brutally honest. It exposes the bunker’s safety for the sham it is and challenges us all to embrace life’s chaos.

Shira Milikowsky’s direction is full of infectious energy, the cast commanding the stage with gusto and charisma. It’s unapologetically camp, laced with sassy self-awareness perfectly in sync with a subversive core. There are clever devices, such as Oscar and love-interest Bosie flirting via predictive text, disembodied voices carrying their passionate exchange across the crowded dancefloor. The cast also fire off snappy quips under their breath, heightening the immersion and keeping the energy continuously crackling.

Andrew Barret Cox’s music and lyrics are an absolute highlight. Club banger follows club banger, and even when we hit a ballad or two, they suit the moment perfectly. My personal favourite is the cheeky ode to Julie Cooper (toxic step-mom from ‘The OC’, obviously), as infectious as whatever ended the world must have been. Though Dan Samson’s sound design, which follows the actors around the space, means I can’t always decipher the words – not that this detracts from the insane belting delivering them.

Barret Cox’s choreography is a flurry of precisely executed kicking, popping and voguing – an absolute feast for the eyes. Andrew Exeter’s set, venue and lighting design creates an underground club with a strong dystopian edge, 1984-esque CCTV tracking your every move (and helpfully those of the actors), back-alley graffiti everywhere, and plastic strip curtains evoking an abattoir. The lighting is insane, flicking from unobtrusive to dramatic (the side spot illuminating half of Constance’s face, emphasising her dislocation), to jokey (the flashbulb pops punctuating Oscar’s snappy poses), to exuberant (the rippling rainbows Oscar summons on a whim). It’s perfectly complemented by the costumes, hair and make-up, drawing on timely styles like punk, S&M, and even Starlight Express.

The true highlight, however, is the cast – *clap* STUN *clap* NING. Jan Sport’s Oscar is brash, bold and yet oh-so broken. Jan channels Oscar’s tangled brilliance with such conviction, there’s not a flicker of doubt in her portrayal. The perfect example is during the heartfelt climax, where I catch a solitary Jan weeping in such anguish I have to look away. The ensemble is such high quality, it’s a disservice to single individuals out. Suffice to say, everyone absolutely slays.

‘Oscar at The Crown’ might not be everyone’s cup of tea but I guarantee it develops a cult following, just like Julie Cooper. Heartrendingly raw and breathtakingly executed, sashay your way to The Crown and catch it while you can!

GET DOWN TONIGHT

Charing Cross Theatre

★★

“glitters with disco sparkle but dig a little deeper and it loses its shine”

GET DOWN TONIGHT

Charing Cross Theatre

Reviewed on 30th September 2025

by Hannah Bothelton

Photography by Danny Kaan

Previously reviewed at this venue:

GET DOWN TONIGHT

GET DOWN TONIGHT

GET DOWN TONIGHT

OSCAR AT THE CROWN

The Crown

★★★★★

“unapologetically camp, laced with sassy self-awareness perfectly in sync with a subversive core”