Tag Archives: Mark Loveday

The Choir of Man

The Choir of Man


Arts Theatre

The Choir of Man

The Choir of Man

Arts Theatre

Reviewed – 10th November 2021



“The Choir of Man is that rare thing, a simultaneously deeply familiar, yet different, West End musical experience”


“Welcome to the Jungle” is the friendly sign on stage that greets audiences as they enter for an eighty minute sing along at the Arts Theatre in Covent Garden—and what a welcome it turns out to be. The Choir of Man, first created in 2017 for the Edinburgh Fringe Festival, has since toured around the world to great acclaim. It’s easy to see why. Despite being built around a simple premise—a group of men gathered together for an evening in their favourite pub, the Jungle—the show turns out to be more than just a bunch of blokes sitting around, swapping songs, and drinking beer. The Choir of Man is an updated take on the importance of the local pub in people’s lives. And there isn’t a whiff of stale beer from beginning to end.

The Choir of Man, created by Nic Doodson and Andrew Kay, is built to entertain. It also pulls at the heartstrings in unexpected ways. The cast invites you into their lives, giving their real names. They’re not there to brag or to pretend to be something they’re not—but to talk frankly about their vulnerabilities. In doing so, they cast light on why men, in the midst of their greatest joys and sorrows, head unerringly to the local pub. Doodson and Kay’s approach strikes just the right chord—especially when sung to the right tunes. The Choir of Man sounds like it shouldn’t work as well as it does, but the earnest, often rhyming, monologues (written by Ben Norris) create solid characters for us to identify with. The monologues are also the introductions to the roles that are linked with the songs. This technique does verge on the corny from time to time, such as when a man, married too young, and bored with the relationship, puts a personal ad in the local paper. But The Choir of Man has a fresh take on Rupert Holmes’ Pina Colada Song, (written long before dating apps, remember). The spirit the cast brings to this song, and the other old favourites, creates an infectious energy. When asked, there are plenty of volunteers from the audience willing to go on stage and take part in the fun.

The production displays a wealth of easily accessible performance and design touches that match the concept. The performers of The Choir of Man have pleasant voices, project solid niceness of character without being dull, and they’re well dressed in unassuming clothes (good choices by costume designer Verity Sadler). They move well (kudos to Freddie Huddleston for the choreography that manages to look natural even while upping the energy in the room.) The talented live band is placed above the pub so that the audience can see their work, while watching the dynamic singing and dancing below. Oli Townsend has created an effective set design that gives director Nic Doodson just the right kind of space to work with. The playing time of The Choir of Man is also well judged—long enough to keep the audience delighted, yet eager for more.

The most remarkable thing about The Choir of Man is not what a good evening’s entertainment it is, and it is—but in seeing how many men in the audience seemed more than content to be there cheering and singing along instead of spending the evening at, you guessed it, their local pub. This show clearly hits a nerve with the guys—and it’s a happy one. But The Choir of Man is not just for them. The atmosphere throughout is adroitly managed by the team on stage and off it, and everyone, regardless of gender or sexual orientation, will feel welcome at The Jungle. The Choir of Man is that rare thing, a simultaneously deeply familiar, yet different, West End musical experience. And the more intimate Arts Theatre in Covent Garden, in the vicinity of all the big musical theatres, is exactly the right place for this singular show.


Reviewed by Dominica Plummer

Photography by Helen Maybanks


The Choir of Man

Arts Theatre until January 2022


Previously reviewed this year by Dominica:
Public Domain | ★★★★ | Online | January 2021
The Sorcerer’s Apprentice | ★★★ | Online | February 2021
Adventurous | ★★½ | Online | March 2021
Stags | ★★★★ | Network Theatre | May 2021
Overflow | ★★★★★ | Sadler’s Wells Theatre | May 2021
The Sorrows of Satan | ★★★ | Online | May 2021
Doctor Who Time Fracture | ★★★★ | Unit HQ | June 2021
Wild Card | ★★★★ | Sadler’s Wells Theatre | June 2021
In My Own Footsteps | ★★★★★ | Book Review | June 2021
L’Egisto | ★★★ | Cockpit Theatre | June 2021
Luck be a Lady | ★★★ | White Bear Theatre | June 2021
The Game Of Love And Chance | ★★★★ | Arcola Theatre | July 2021
The Ladybird Heard | ★★★★ | Palace Theatre | July 2021
Starting Here, Starting Now | ★★★★★ | Waterloo East Theatre | July 2021
Rune | ★★★ | Round Chapel | August 2021
Roots | ★★★★★ | Wilton’s Music Hall | October 2021
The Witchfinder’s Sister | ★★★ | Queen’s Theatre Hornchurch | October 2021
Rice | ★★★★ | Orange Tree Theatre | October 2021
Love And Other Acts Of Violence | ★★★★ | Donmar Warehouse | October 2021
One Man Poe | ★★★ | The Space | October 2021
Vinegar Tom | ★★★ | The Maltings Theatre | October 2021
Marlowe’s Fate | ★★★ | White Bear Theatre | December 2021


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Barred Freedom


by Eugene Ambrose

Set in a prison in the nineteen seventies, the penal system is in crisis. Over-crowded and understaffed, with a riot in one wing of the prison and a plot to escape in the other. Wentworth is a first time criminal sharing a cell with young ‘old hand’ Dawson. While under the watch of the guard, Deacon, they distract themselves with language until Dawson reveals a plan that, if successful, could lead to their escape.

Written as gender neutral Barred Freedom has two casts, one male and one female, to explore the differences or similarities we see in behaviour regarding gender and social environment. Each cast also has a different director.


Male Cast

Matthew Hawes – Dawson

Adam Sabatti – Wentworth

Mark Loveday – Deacon

Director – Asia Osborne


Female Cast

Amy Martin – Dawson

Carys Wright – Wentworth

Frances Keyton – Deacon

Director – Eugene Ambrose





Barred Freedom

20 – 25 March 2017

Male Performances: 20th, 22nd, 24th March
Female Performances: 21st, 23rd, 25th March
All performances begin at 7pm


The Cockpit Theatre
Gateforth Street


Box Office

020 7258 2925



Tickets £12, £9 concessions


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