Book, Music & Lyrics: Emma Lively & Tyler Beattie
Director: Sheryl Kaller
Choreographer: Josh Prince
Music Director: Georgia Rawlins
Four princesses, sheltered inside a tower by an overprotective father who insists they remain “safe and sound,” dream of seeing a passing comet. When they escape through a secret passage, they collide with an overwhelming outside world. While the premise invites early comparisons to SIX, Bliss quickly forges its own distinct identity through a soaring modern score and sprawling production values.
By Fringe standards, the scale of this production is breathtaking. A talented, high-energy ensemble fills the stage, backed by striking lighting design. In an early highlight, the princesses’ escape is framed by glowing light tubes, creating a vivid sense of momentum. Later, Prince Devin’s entrance explodes with next level energy as the ensemble transforms into mocking jesters, warning the sisters they will never belong at court.
The narrative darkens with the arrival of Glimmermore, a sinister Fairy Godfather who offers to make the sisters “perfect” in his pink lagoon. Akshara Gunda delivers a fantastic turn as Piper, who dips into the waters to become Princess Bliss, losing her independence, her telescope, and her memory of her sisters.
Where the production falters slightly is its climax. The resolution relies on getting the audience to chant “I don’t believe in fairy godfathers” to defeat the villain. While effective, the sudden shift into Christmas pantomime territory feels tonally jarring alongside an otherwise slick, West End-calibre musical.
Nevertheless, Bliss is a lavish, heartwarming tale about remaining true to oneself. Packed with powerhouse performances, inventive choreography by Josh Prince, and genuine heart, it stands out as one of the festival’s most ambitious new musicals.
Runs until 31 August 2026 | Image: Contributed
