This review was originally written for The Reviews Hub: https://www.thereviewshub.com/title-of-show-southwark-playhouse-borough-london/

For a writer, sometimes a story pops into your head, yet other times, it takes a deadline and a feeling of urgency to get the creative ideas flowing. This is the situation budding writers Hunter and Jeff find themselves in in this charming revival of [title of show].

The production centres around the pair who find themselves at the hurdle of writers’ block, desperate to find their niche and achieve Broadway stardom, until an upcoming musical theatre festival, inviting new writing, sparks the struggling writers into action. It is a fun idea, as the duo, alongside friends Susan and Heidi, use their real-life experiences and interactions as direct inspiration for the script, blending life and fiction. The result is a goofy meta-musical which pokes fun at itself and musical tropes across its brief hour-and-a-half run time.

Hunter Bell and Jeff Bowen’s book leans into its quirky, rough-around-the-edges charm, embracing the chaos of a hastily assembled script while gently poking fun at the genre. The show’s strength is its ability to acknowledge its imperfections, highlighted through its humorous nods to forgettable songs or the occasional over-the-top scene, such as an absurd but entertaining dream sequence. Despite this, it never fails to remind us that, at its heart, this piece means something to these characters and moves away from being something that is just a bit of fun, particularly as the potential for a Broadway run takes hold. Developing this, Hazel McIntosh’s simple yet effective set design, primarily featuring four chairs, doubles as Hunter’s flat and the rehearsal space, reinforcing the show’s intimate, behind-the-scenes atmosphere.

Jacob Fowler and Thomas Oxley are the writing pair, Hunter and Jeff, reflecting the production’s writers. Theirs is a complex relationship which unfolds as the desire for success takes hold. Oxley’s more vulnerable and sensible Jeff balances Fowler’s fame-hungry Hunter, and where the pair shines brightest is during the initial sparks of inspiration as the musical gets off the ground. The production teases the friction between them as their dreams do not go completely to plan, but it is a shame the book does not explore this to its full potential as the pair promisingly sets this up.

Viral sensation Abbie Budden works hard as Heidi, a jobbing actress eyeing her pathway to stardom. Budden looks at ease on stage and is well-suited to the role, dancing, singing and performing with aplomb. The scenes where Heidi’s character, at times sidelined by Hunter and Jeff, is allowed to fully express herself, such as in the numbers What Kind of Girl is She? and the amusingly titled Montage Part 2: Secondary Characters, are highlights in Budden’s performance.

The show’s standout performer, however, is Mary Moore, whose quirky Susan steals the scene at every opportunity. Moore’s comic timing stretches the book’s humour to its limits, with great success, but this is coupled with a fantastic vocal range. Susan’s number Die, Vampire, Die!’ is about killing off the insecurities inside you and is a nice switch from the otherwise quite loud and bolshy character, and it is hard to take your eyes off of the energy Moore brings to this role.

One problem this production has is the sheer scale of its Americanisms. Clearly meant for a Broadway audience, the book relies on the audience having a sharp understanding of the American theatre scene, which does impact some of its humour from getting the right response. The quick flashcard prop routine is a good example of this, where the punchlines are based on older, obscure Broadway musicals, which ultimately hits the target only sparingly.

Despite this, the production remains warm and charming, fulfilling its aim of parodying the writing process and celebrating the camaraderie of its characters. Tom Chippendale adds a nice touch as Larry, the musical director, with his understated cameos offering a nod to the unsung heroes behind the scenes.

While it is true that, as the show nods to itself, the music is not overly memorable, it is the spirit of the human interaction and warmth that lingers long after the lights fade out on this piece.