LOVE QUIRKS
The Other Palace
★★★
“the energy truly kicks in as the quartet come together with some powerful harmonies”
Quirk (/kwəːk/): 1. A peculiar aspect of a person’s character or behaviour (noun) 2. (with reference to a person’s mouth or eyebrow) to move or twist suddenly, especially to express amusement or surprise (verb). “Love Quirks” – a new musical with music and lyrics by Seth Bisen-Hersh and book by Mark Childers – incorporates both the noun and the verb in its title. Indeed, ‘love’ is very much a fifth character in this intimate four-hander, complete with all the quirks imaginable. However, despite some genuinely funny moments, there are few twists and fewer surprises in what is essentially a song cycle rather than a fully-fledged musical.
There are eighteen numbers, spread evenly across two acts, that attempt to cover all aspects of love as experienced by four flatmates. Unrequited love is the dominant theme, but we are also offered insights and anecdotes exploring the minefield of dating, marriage, divorce, rejection, one-night-stands, sexuality, sex, romance, peer pressure and expectations. A mix of solos, duets and ensemble pieces, they are delivered with vigour and virtuosity by the cast and there are some beautifully tender moments. There is a tendency, however, to belt out the numbers; a technique that overflows into the dialogue. Moments of high emotion too often come across as mere shouting.
Flatmates Stephanie (Clodagh Greene) and Lili (Ayesha Patel) share their rented accommodation with gay best friend Ryan (Lewis Bear Brown). Although for Lili, Ryan is more of a best friend – she has harboured an unrequited crush on him since her schooldays. Ryan announces he is moving out and sublets his room to Chris (Tom Newland). Chris and Stephanie have history. They dated long ago, and Stephanie holds a bit of a grudge. Meanwhile they are both on the rebound: Stephanie is going through a divorce, and Chris is fleeing a girlfriend who cheated on him. Not wanting to be upstaged, Ryan too has his share of heartbreak. Only Lili is fancy free, although her freedom confines her in self-doubt and longing which steer her towards some dubious, drunken decisions. Basically, they are all pining for what they can’t have.
“It Never Works” – the opening number – sums this up and sets up the premise. It takes a while to warm up, but the energy truly kicks in as the quartet come together with some powerful harmonies. “Let’s Just Be Friends” continues the theme. The banter between songs verges on the inconsequential, and the characterisation lacks any real dimension. Childers’ script comprises chit chat rather than any real narrative, much of which is predictable. We know where it is going, and there are clear signposts leading us to the next song.
The songs themselves are well crafted (except that nearly all of the numbers end on the same base-note, staccato button). “Darling, I Loved You” shows Greene at her most tender in a song that subtly segues into “Who Knows Why?” during which Patel picks up the lead melody. There is a well-balanced mix of quirky solo numbers and rousing duets and ensemble pieces. Act One closes with the titular “Love Quirks”, during which we can imagine the full sound of the composer’s dream, rather than the solo piano accompaniment. Pianist/Musical Director, Tom Noyes, adds dynamic character to certain songs that are in danger of sounding just like the last. “Just Get Over It” is a surprise tango that is a lyrical delight, although director Cecilie Fray could do more with the musical staging.
There is no denying that this is a fun musical. Innovative – not really. Shallow – perhaps. Cheesy – probably. “Love Quirks” has some fine musical moments that stand alone, which is just as well as the story line is too weak to support it by itself. The fine performances from a talented cast certainly keep it from falling in on itself. A more solid framework would make this a sure-fire, quirky hit.
LOVE QUIRKS
The Other Palace
Reviewed on 28th September 2025
by Jonathan Evans
Photography by Anna Clare
Previously reviewed at this venue:
50 FIRST DATES: THE MUSICAL | ★★★★★ | September 2025
SAVING MOZART | ★★★★ | August 2025
THE LIGHTNING THIEF | ★★★ | March 2025
HOMO ALONE | ★★★ | December 2024
JULIE: THE MUSICAL | ★★½ | June 2024
CRUEL INTENTIONS: THE 90s MUSICAL | ★★★★ | January 2024
