BOYS IN THE BUFF
Golden Goose Theatre
★★★
“predictably raunchy and as fluffy as a feather boa”
If nothing else, “Boys in the Buff” captures a zeitgeist of the millennium with its central theme becoming more pertinent day by day. ‘How do I look?’ is the question on most people’s lips, no more so than for the five characters who are about to bare all to an eager audience urging them on in their quest. They begin by addressing their own insecurities about their body image and self-perception but end up in total celebratory mood in true ‘La Cage aux Folles’ style. The intention is to lead us to the same conclusion about ourselves, but the superficiality and gloss of the presentation never lets us forget we are watching a musical revue in which the actors are playing the part. This is cabaret – and we get a fine ‘willkommen’ while our troubles are left outside.
The show follows Maxie (Tish Weinman) and the ‘boys’ as they prepare for a Full Monty-esque strip show. Swift introductions are followed by shared back stories that are more like soundbites from a self-help manual. Nevertheless, write Chris Burgess injects doses of humour into the dialogue, the monologues, and the song lyrics. The musical numbers are what truly bring this show alive with its cascade of catchy songs and derring-do dance. Director and choreographer Robbie O’Reilly has had her work cut out with the vast array of genres and musical styles, but she rises to the occasion with quite stunning routines. From the opening Fosse pastiche of the title song onwards, no style is left unturned.
The sheer variety works well. One minute we are in music hall territory (which sometimes feels it might teeter over the end of the pier), the next we are in a Weimar era basement. There is ragtime, disco, calypso and tango, belle époque and hip hop. Boy band power ballads jostle with smooth swing. A touch of tap, and a sprinkling of ballet and even a bluesy rendition of Shakespeare’s ‘To Be or Not to Be’ soliloquy. But what they all have in common is that they are all instant ear worms, and the combination of the clever lyrics and the fine vocal and physical performance are a delight to watch. The music is pre-recorded, but musical director Aaron Clingham and Andy Collyer’s arrangements place us firmly in the setting that each song suggests. Richard Lambert’s lighting enhances the moments with its rich mix of moods and atmosphere.
The show belongs to the performers. An ensemble piece that lets each of them shine. The characterisation is thin, but these boys are thick as thieves. Weinman undoubtedly rules the roost with their seasoned panache and outrageous command of the stage. There is Phil (Adam Norton) who is unsure if he can go through with the gig, whereas Dan (Rowan Armitt-Brewster) can’t wait to get his kit off. Luca (Max Rizzo) spends too much time at the gym while Richard (Liam Bradbury) merely looks as though he does. All four are beautiful in their own right, with toned physiques to match, yet – and here’s the crux of the show – their susceptibility to societal pressure and their self-doubt force them to see themselves differently. They relate their own experiences of bullying, body shaming and body envy. That these issues defy gender or sexual orientation is effectively enforced, and the fact that it is done in such an entertaining way makes the message more relatable. That said, a little less eye candy on the stage, and a little more meat on the script would make it easier to swallow.
But this is light entertainment at its peak. Above all it is fun. It is predictably raunchy and as fluffy as a feather boa. Despite its all revealing climax, what is ultimately exposed is the talent of the performers. And that’s the naked truth.
BOYS IN THE BUFF
Golden Goose Theatre
Reviewed on 12th December 2025
by Jonathan Evans
Photography by Peter Davies
