This review was originally written for The Reviews Hub: https://www.thereviewshub.com/lovestuck-stratford-east-london/

Imagine the worst first date you have had, and how excruciating that felt. Now, imagine how much worse it could have been, if you were trapped inside a window, trying to rescue your own poo that you’ve flung out of said window, in an attempt to rescue your reputation from your bewildered date. That’s the premise of the silly and chaotic new comedy musical Lovestuck, premiering at London’s Stratford East.

The tale of this dating disaster, inspired by a viral story, has been turned into a musical by some of the brains behind the hit podcast My Dad Wrote a Porno and fans of the show will recognise quickly the on-the-nose humour that made that show famous, which runs through this one too. This is not a production that tries to be too complex, focusing sharply on the messy nature, figuratively and, in some terribly gross moments, literally, of 21st century dating, but does pack in some attempts at a message about identity and self-worth, while also boasting a catchy book, with music by Bryn Christopher and Martin Batchelar.

Lovestuck focuses on Lucy (Ambra Caserotti) and Peter (Shane O’Riordan), who are at a crossroads. Lucy, a nurse who is chronically unlucky in love, is searching for her ‘one’, fearful that time is running out for her and that she is destined, perhaps, to become a Cat Lady (one of the show’s best songs), while Peter’s life of trolls and elves has rendered him single and living alone for the first time. Only once the pair meet properly does the production, which feels a little repetitive during a slow first half, kick into life, primarily through Lucy’s terrible toilet trouble. The pair sparks a clear connection between the two individuals, desperate for love.

O’Riordan’s goofy nerd Peter is captured well, and the script does quite a good job of blending the character’s dafter moments with glimpses of sincerity. In addition, Caserotti, stepping in for the injured lead Jessica Boshier, is superb as the love-struck nurse. It is through Lucy’s character that the play tries, with some success, to find its message. Amid all of the goofy and gross catastrophe, the musical channels ideas about self-worth and self-love through Lucy’s character, and Caserotti’s delivery, particularly in her tremendous Picture Perfect number, captures this well. This is not a show that aims to be particularly profound, but it is not totally shallow either. This is to the show’s detriment as tonally, it never quite finds the sweet spot, but the performance of the two leads, particularly Caserotti, are superb.

Alongside the pair is Bridgette Amofah, who doubles as Cassandra and as a depiction of Lucy’s jealous and self-doubting subconscious. Miseraie, a manifestation of Lucy’s self-doubt while doomscrolling, is delightfully mean, though the focus on making Lucy ‘basic’ does feel like an overly cynical script choice that is over almost as soon as it is there. Nevertheless, Amofah’s talents are clear, not just in the ease with which the two characters are individually crafted, but as a singer and dancer too, particularly in the Cat Lady number. Amofah is joined by a small yet impressive ensemble cast, whose energy lights up the production but also helps to enhance its cheesier and sillier moments, both through physical and verbal comedy, but also through Chi-San Howard’s choreography.

Another coup for the production is using the voice of acclaimed actor Alison Steadman to narrate over scenes. This does feel like an odd choice. Admittedly, the production is not going for nuance, but the narration is used too obviously, to double down on gags that could have easily been made without the narration. Steadman’s comic timing, even on a recording, is clear, but the narration itself, as a concept, is not that necessary, and is also a little inconsistent, used much more heavily during the first half than after the interval.

Lovestuck has a lot going for it. It is a production that is stronger when it doesn’t take itself too seriously, and is full of powerful performances and good music too, which are earworms and help to keep the pace and the vibe of the show energised. That said, it is an uneven production, which does not quite know yet how to balance its ideas with its over-the-top toilet humour, and as a comedy, it does take a while for the jokes to land.

Nevertheless, assisted by a stunning performance by Caserotti, who is well worth seeing, and is the production’s shining light, there is a lot of fun to be had watching this show. When it does eventually get going, the jokes, both worded and physical, are relentless.

Although it gets triggered by an awful toilet moment, Lovestuck is no busted flush.