Tag Archives: Katy Richardson

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

SHUCKED

★★★★★

Regent’s Park Open Air Theatre

SHUCKED

Regent’s Park Open Air Theatre

★★★★★

“The fun factor is dolloped on as thick as melted butter on crispy corn on the cob”

You can imagine exactly whereabouts in the United States Cob County (the fictional location for the musical comedy “Shucked”) would lie. Somewhere on the border of Arkansas and Oklahoma, where the corn is as high as an elephant’s eye, and the town-folk, dressed like raggedy scarecrows, can’t see beyond the wall of maize that shields the outside world. ‘People don’t leave Cob County’, we are told. Well, hey, if I found myself there, I’d never want to leave either judging by the sheer joy even just two hours in their company can give.

Regents Park Open Air Theatre is the perfect backdrop for this real gem of a musical. A score of catchy tunes; a Prairie-sized dose of charm and compassion; a wagonload of amazeballs song and dance and the corniest jokes you dare to imagine, all roll into town, via Broadway, to give us a night we’re going to remember for quite some time. Robert Horn’s book openly celebrates its own richly flavoured cheesiness by packing it full of puns and punchlines, while Brandy Clark and Shane McAnally’s country-tinged music and lyrics keeps the smile firmly on our faces with their mix of foot-tapping, bluesy reels and soul-stirring ballads. This formula really shouldn’t work. The story is preposterous, the final message unbelievably schmaltzy and some of the jokes as old as the American Outback; yet we are ‘shucked’ into loving it (a hasty qualification needed here – some of the one-liners are, in fact, surprisingly audacious and shockingly risqué, and would mercifully go over the heads of the younger members of the audience).

We are introduced to the Midwestern community by way of Storyteller One and Storyteller Two; Monique Ashe-Palmer and Steven Webb respectively – a joyous pair whose comic timing and flair keep the narrative in check with a rancher’s whip-cracking skill. At the heart of the story is Maizy (Sophie McShera) whose wedding vows to Beau (Ben Joyce) are interrupted by the corn crop suddenly and mysteriously dying. An unsolved mystery – which, in fact, is just a mystery – Webb tells us. Maizy dares to venture beyond the county limits in order to find a solution to the crop failure. She winds up in Tampa, an exaggerated, greeting-card-type metropolis where she meets grifter Gordy (Matthew Seadon-Young), a corn doctor (of course). Gordy is in debt to some not-so-gangsterish gangsters, and he sees in Maizy an opportunity to do some good ole shucking and shake off his creditors. Maizy, on the rebound from breaking off with Beau, is lovestruck, and the two of them head back to Cob County. What follows is a messy mix of misdirected romance, deception, and a full-on, heart-on-sleeve parable about the strength of community, family and belonging, and the triumph of good over bad.

To put it simply, the cast is outstanding. McShera’s Maizy has a real sense of the comedy but layers it with a steely tenderness that refuses to suffer fools. And a voice to match. Joyce’s literal-minded Beau is a delight, seeing the world in black and white but colouring it in with splashes of charisma and slapstick empathy. And a voice to match. His side kick and brother, Peanut – played by the terrific Keith Ramsay – has the burden of the corny jokes but he carries them all with an ease, delivering them with a deadpan hilarity. Meanwhile, Maizy’s cousin, the whisky-brewing, sassy Lulu is a tour de force of a performance in the hands of Georgina Onuorah. And a voice to match (have I said that?). In fact, Onuorah’s voice soars above all else. Seadon-Young is slick as oil as the slippery Gordy wishing he was better at being bad, though his performance couldn’t be better if he tried. Director Jack O’Brien brings out the best in all of them, including the ensemble – highlighting Sarah O’Gleby’s inventive choreography which occasionally verges on the acrobatic – and some perilous use of barrels and planks.

The music worms its way into our ears and takes root. At once familiar in its mix of pop, musical theatre, country and some serious balladeering; but unique enough to sound fresh and lyrically holding its own against the onslaught of wordplay in the book. From the rousing opening number ‘Corn’, through the obligatory ballads (mostly given to McShera); Seadon-Young’s bluesy ‘Bad’ and Onuorah’s showstopping ‘Independently Owned’, the numbers are a delight. This isn’t high art, but the spirit (and the corn) is sky high. An elephant’s eye wouldn’t come close. The fun factor is dolloped on as thick as melted butter on crispy corn on the cob. If it’s possible, this musical is tastier even. Sweeter, cheesier and packed with joy. One taste and you’ll be wanting to go back for more.



SHUCKED

Regent’s Park Open Air Theatre

Reviewed on 20th May 2025

by Jonathan Evans

Photography by Pamela Raith

 

 

 

 


 

 

 

 

Previously reviewed at this venue:

FIDDLER ON THE ROOF | ★★★★★ | August 2024
THE SECRET GARDEN | ★★★ | June 2024
THE ENORMOUS CROCODILE | ★★★★ | May 2024
TWELFTH NIGHT | ★★★★★ | May 2024
LA CAGE AUX FOLLES | ★★★★★ | August 2023
ROBIN HOOD: THE LEGEND. RE-WRITTEN | ★★ | June 2023
ONCE ON THIS ISLAND | ★★★★ | May 2023
LEGALLY BLONDE | ★★★ | May 2022
ROMEO AND JULIET | ★★★★ | June 2021

 

 

SHUCKED

SHUCKED

SHUCKED