THE CHOIR OF MAN

Arts Theatre

★★★★★

“this an ensemble piece at its finest, with a real sense of brotherhood amongst the whole cast”

The great British pub, previously everywhere, is now endangered – a ‘third space’ that’s slipping away. Enter ‘The Choir of Man’, a heartfelt, feel-good show where pints pour, voices soar, and everyone belongs – a new kind of safe space for theatre lovers and pub goers alike.

Walking through the doors of the Arts Theatre, we’re transported to ‘The Jungle’ – at first glance a typical local with typical personalities including a Barman, Hard Man and Handyman. But scratch the surface and it’s anything but, with a Poet, Romantic, Maestro and others turning beer-soaked bravado into a brotherhood of connection and creative outlet. There’s no narrative, with rhyming monologues linked by song, dance and live instrumentals exploring themes such as friendship and home. It’s rich in feeling, each man finding their voice before ending with a gut punch reveal and a raw folk farewell.

As a woman and a feminist, I was sceptical of seeing a show about men in a pub – I couldn’t have been more wrong. Created by Nic Doodson and Andrew Kay with monologues by Ben Norris, ‘The Choir of Man’ is full of tenderness and truth, reclaiming a traditionally hyper-masculine space as somewhere men can express themselves. It’s romanticised, the poetic monologues and feel-good vibes giving it a dreamlike glow; but my soul feels lighter for witnessing a bunch of blokes holding space for each other. It’s carefully constructed to add depth, such as the Romantic pouring his heart out to Adele’s ‘Hello’ while the lads slow-mo through some football highs and lows. A deeper thread is also woven in, ending with a poignant reminder of the importance of looking out for each other.

Nic Doodson’s direction blurs drama and daily life. The stage becomes a pub for audience and cast alike. The cast roams about, checking in and making you feel at home. Multiple numbers involve audience participation, including inviting people on stage and even offering extra drinks and crisps to keep us going. It’s exactly the kind of warm camaraderie one craves from a third space, and a complete breath of fresh air from a West End show.

‘The Choir of Man’ is a folk-pop-rock jukebox musical offering something for everyone, from ‘Chandelier’, to ‘Under the Bridge’ and even a cheeky rendition of ‘Escape (The Pina Colada Song)’. Though the real strength is Jack Blume’s marvellous orchestrations and arrangements, with interesting interpretations, complex harmonies, and modern mashups to surprise and satisfy the musically inclined.

Oli Townsend’s set design doesn’t just suggest a pub – it is one, complete with bar taps and beer mats. Verity Sadler’s costume design balances cohesion and character. Freddie Huddleston’s choreography beautifully contrasts moments of unity and disconnection. Richard Dinnen’s lighting design is joyful, full of vibrant colour and synced perfectly to the music. Sten Severson’s sound design brings out the multiple part harmonies, though the voices get a little lost during the tap dancing and pint glass clashing.

The newly assembled cast is electric, closing out the West End run before embarking on a UK tour. Paul McArthur’s Poet breathes life and love into each monologue, each song aching with feeling. Jason Brock is a passionate Romantic, with beautiful tenor and falsetto ranges that soar skyward. Ben Goffe’s Handyman proves a master of all trades, with expert singing, trumpet playing and fantastically fast, crisp tap footwork that’s rare outside a dance show. Though this an ensemble piece at its finest, with a real sense of brotherhood amongst the whole cast – if your gaze drifts, it’s always greeted with exchanges that radiate trust. The onstage band also deserves a mention for their firepower and finesse.

‘The Choir of Man’ is harmonious in every sense, creating a place of trust and love that everyone should experience. Catch it on the West End and then again on tour – you’ll come away feeling refreshed and hopeful.

THE CHOIR OF MAN

Arts Theatre

Reviewed on 7th October 2025

by Hannah Bothelton

Photography by Mark Douet

THE CHOIR OF MAN

Oh Mother

Soho Theatre

Reviewed – 21st July 2022

★★★★

“There’s a lack of convention inbuilt in the show, which means it feels totally normal for someone to appear in a bear costume”

Oh Mother seeks to express the contradictions of motherhood, the oddities and difficulties, as well as some of the pleasures and absurdities. It’s chaos, random sketches tumbling into each other, one after the next, with no particular through-plot or message. Costumes include Grecian gowns and golden crowns, a sequin bra with two golden babies suckling, a power suit with only one heel, and a leotard. The set consists of a massive sign – ‘BABY’- lit up like an actress’s dressing room mirror, intermittently flashing and flickering, with a dishwasher stage left, a cello stage right, more golden babies strewn across the floor, and a massive semi-sheer curtain, pulled this way and that throughout. As I say, chaos.

Which all seems perfectly fitting for the subject matter. There are occasional moments of joy or peace, but for the most part, the script lays heavily on the disorder and change that having a baby brings about. This is later explained in a discussion between Abbi Greenland (one half of the Rashdash core) and her mother: they don’t want to appear smug, or dwell on how happy and wonderful their lives are now that they have babies, no matter how true that is. Because, Abbi says, it’s more important to talk about how hard it is. She’s not wrong: Watching three new mothers talk about the joys of motherhood for ninety minutes would be a drag. But there’s plenty of joy in this show already, even if it’s not quite so explicit.

A conversation between a new mother (this time Helen Goalen, the second core Rashdash member) and her partner about division of labour, for example, explains that, despite him offering, despite her previously saying they should split the labour evenly, she doesn’t actually want him to help with night feeds. She wants to feed this baby all by herself, from herself, even if it exhausts her. She wants to make all the decisions about this tiny being, to be in control entirely. It’s complicated, and it’s not made to look easy, but ultimately Goalen is expressing the strange ecstasy that comes from being the entire life source for a little person.

This scene is also particularly glorious because dad is wearing a big bear costume. This is never explained, but it feels like a way of softening the dynamic between man and woman. As Abbi later mentions, she’s now very reliant on a man, which, presumably, has never happened before and is, obviously, tricky for someone who’s spent their whole lives fighting against a patriarchal system. So, put him in a bear costume, and suddenly it doesn’t feel quite so patriarchal.

There’s a lack of convention inbuilt in the show, which means it feels totally normal for someone to appear in a bear costume, or for the cast to break into a musical number or a bit of expressive dancing. Similarly, it’s not unusual to suddenly have a very frank discussion about how babies change a person, and therefore change friendships, all while sporting the aforementioned sequin bra and golden suckling babies.

Simone Seales, the exquisite cellist and third member of the ensemble, also includes her stories of motherhood, or rather her journey to choosing it. Despite there being various takes on the theme throughout- the mother suffering Alzheimer’s being taken care of by her grown daughter, or the mother of a new mother, talking about her own experiences thirty years ago- Simone’s experiences aren’t quite as integrated into the show. Which, to be honest, isn’t all that disruptive. But it does feel a bit like Abbi and Helen are one part, and Simone is another. That being said, her cello score ties the whole show together, giving a sense of intent to what might have otherwise felt a bit random.

Performances are funny and frank, unafraid to be physical and vulnerable, serious and silly. It’s the perfect show for new mothers, a show of solidarity, although it’s not just for new mothers, which is handy, seeing as they might still have a tiny person strapped to their chest. If you can, though, it’s well worth getting the babysitter in for this one.

Tag Archives: Oli Townsend

THE CHOIR OF MAN

★★★★★

Arts Theatre

THE CHOIR OF MAN

Arts Theatre

★★★★★

“this an ensemble piece at its finest, with a real sense of brotherhood amongst the whole cast”