From a fleeting detail in history – Emperor Septimius Severus’ decree in 200 AD that women could no longer compete as gladiators – Gladiatrix fashions an ambitious musical. It mixes historical drama with camp humour and plenty of high-energy performance, though it doesn’t quite strike a consistent balance.
At its core, the piece centres on four women: the enslaved Deireoe (Bukky Oronti), the noble-born Mevia (Kirsten Longmuir), the marginalised Felicitas (Olivia Blair), and Vita (Stella Antonogiannaki), who turns to prostitution for survival. Each character tells her own story, outlining the reasons that drive her into the arena, but their impact is strongest when they unite as an ensemble. Harmonies blend with stylised fight choreography and moments of acrobatics, creating a sense of sisterhood and shared defiance.
Comic contrast comes from the hedonistic emperor himself, played with wicked glee by Dashaun Vegas. With a swaggering presence and a theme song of his own, he frequently steals the spotlight, injecting an irreverent tone that keeps the audience laughing even as the gladiatrix fight for survival.
Musically, Tony Gonzalez and Sam Johnides’ score is eclectic, spanning from soaring power ballads to cheeky pop numbers. Paul Bianchi’s lyrics, sprinkled with Latin phrases, give the songs a playful sense of historical flavour without ever becoming too heavy-handed. Numbers such as the finale Ad Astra Per Aspera (“through hardship to the stars”) nod towards something more epic, while campier tunes allow the show to revel in fun.
That said, the production is not without its issues. At times the backing track overwhelms the singers, with gentler voices occasionally drowned out or pushed to the margins. Microphone use might have helped create a better balance. Structurally, the show feels like it has ambitions beyond its current staging, with narrative threads that touch the surface but could be developed further. There are glimpses of depth and poignancy, but the pace often races past them in favour of sharing out the time between the four women’s narratives.
Still, the commitment of the cast is undeniable. Each performer throws themselves into the piece with full-bodied energy, and the choreography – directed by Kirsten Longmuir – keeps the stage dynamic and lively.
Ultimately, Gladiatrix is a show brimming with potential. Funny, occasionally stirring, and certainly entertaining, it doesn’t yet feel fully formed, but there’s enough here to suggest it could grow into something sharper and more substantial with further development. Definitely one to watch.
Runs until 23 August 2025
