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

★★★

“its mix of humour, inventiveness and on-the-spot storytelling remains a highly entertaining watch”

What do you get when you combine a man called Peter Butter, meteorology and cotton wool? ‘CSI: Crime Scene Improvisation’ of course! Fresh from the Edinburgh Fringe and on tour after twelve years of acclaim, this entirely improvised murder mystery proves anything can become a crime scene.

Someone’s been murdered and it’s up to the audience to crack the case. After inventing a victim, occupation and murder weapon, we must help unmask the killer before they strike again, with plenty of laughs along the way.

Co-creators Sarah Kempton and Lee Apsey have built a show entirely made up on the spot – which sounds both exhilarating and a little reckless! The audience supplies the victim before the cast – Kempton, Apsey, Danielle Downey, James Cann, Nicola Lucey and Steve Bond – construct an entire whodunnit from there, aided by further audience suggestions along the way. Thankfully, chaos is kept in check by a sturdy structure. Starting at the crime scene, the cast scatter bizarre clues and red herrings before whisking us to the victim’s workplace to investigate the fallout and identify the culprit. Guiding proceedings is Apsey’s lead detective, who deftly draws out clues and keeps the narrative moving, creating the satisfying illusion of a fully plotted mystery. It’s an inventive twist on the traditional murder mystery, though with no predetermined killer we’re not scrutinising clues in the usual way. Instead, the fun comes from watching the cast weave a coherent story from an increasingly absurd set of prompts. To their credit, the final reveal – delivered by Downey at this performance – expertly folds forgotten details and throwaway quirks into a confession worthy of the most melodramatic TV villain. The result is funny, quick-witted and flies by.

The show zips along at a good pace, rarely lingering on any one scene for too long which the cast frequently punctuates with sharp closing gags. Everyone is clearly listening closely, skilfully incorporating comments from both the audience and other performers to gradually build the mystery. There are plenty of strong laughs too, from an impromptu debate about the maximum weight of cotton wool to an unexpectedly passionate correction of someone’s hairstyle. Not every section lands quite as cleanly, however. While some scenes pop with energy, others are a touch too talkative, softening the pace and diluting the comic impact. The odd bout of crosstalk obscures a few good lines. As emcee, Apsey could inject a touch more urgency into proceedings, sitting somewhere between a character and a workshop facilitator. Despite the wonderfully ridiculous ingredients supplied by the audience, the story never quite reaches the gleeful absurdity its premise promises. Even so, it’s a solid, entertaining showcase of improvisational storytelling, packed with quick thinking and genuine laughs.

The six-strong cast do well to keep momentum going, while maintaining clear distinctions between multiroling characters. Downey throws herself into every role, combining quick-fire wit with a wonderfully expressive face. Cann has razor-sharp comic timing, landing plenty of laughs and making a recurring joke funnier each time. Kempton is particularly adept at noticing every offer, creating the most fully realised character of the evening through her consistently believable reactions. Bond shows pleasing range, effortlessly shifting between hapless and crafty. Apsey brings a warm, welcoming presence that encourages audience participation, though perhaps undercuts his detective persona. Meanwhile, Lucey’s understated approach conceals a sly comic edge, even if she could afford to be a touch bolder at times.

The design suits the show’s bare-bones aesthetic, with dramatic lighting and a coordinated costume palette adding polish with personality. Despite the cast wearing microphones, the amplification feels inconsistent – though I can only imagine how hard it is to operate a show with no cues!

Twelve years on, it’s easy to see the appeal of ‘CSI: Crime Scene Improvisation’. While not every case will be a perfect fit, its mix of humour, inventiveness and on-the-spot storytelling remains a highly entertaining watch.

Tag Archives: Matt Crockett

HIGH SCHOOL MUSICAL

★★★

Troubador Wembley Park

HIGH SCHOOL MUSICAL

Troubadour Wembley Park

★★★

“the production’s infectious energy and sense of fun carry it through”