The Choir of Man – Milton Keynes Theatre

Creators: Nic Doodson and Andrew Kay

Director: Nic Doodson

Writer: Ben Norris

The Choir of Man, which first premiered at the Edinburgh Festival Fringe before transferring to the West End and embarking on international tours, arrives at Milton Keynes Theatre with a well-earned reputation. This Olivier-nominated production transforms the stage into “The Jungle”, a vibrant, working pub filled with music, movement, and a palpable sense of camaraderie. By the evening’s conclusion, the audience is not merely entertained but genuinely buoyed. While not without minor imperfections, the production offers a thoroughly engaging and memorable experience.

Central to the show’s success is Oli Townsend’s ingenious set design, which presents a fully realised pub complete with a functioning bar serving draught beer and cider. This is not simply a backdrop but an active environment that enhances the immersive quality of the performance. The authenticity of the setting immediately dissolves the boundary between stage and auditorium, inviting the audience into the world of the piece. This sense of inclusion is further amplified by Richard Dinnen’s exceptional lighting design, which deftly guides the emotional tone of the production. With remarkable precision, the lighting shifts from moments of poignant introspection to bursts of raucous celebration in an instant, reinforcing the show’s dynamic rhythm.

The production is performed by nine exceptionally talented actor-musicians, each of whom contributes not only vocally and physically but also instrumentally to the performance. These performers take turns in providing the live accompaniment, creating a rich and immersive soundscape that underpins the entire show. The cast delivers performances of notable versatility and skill, embodying distinct archetypes commonly found within a traditional pub setting while avoiding cliché. Instead, the characters are rendered with warmth and subtlety, allowing them to feel authentic and relatable. The vocal arrangements are consistently strong, offering both power and nuance across a diverse repertoire of well-known songs.

Stand-out performances of the evening go to Niall Woodson as the Handyman and Lewis Dragisic as the Poet, both of whom perform as super swings. Their contributions are especially striking, not least due to the remarkable physicality they bring to their roles. Woodson’s dance work is energetic, precise and rhythmically assured, while Dragisic demonstrates an equally compelling presence, combining fluid movement with emotional depth and clarity of delivery. Their performances exemplify the high standard maintained across the ensemble. Couple this with the dynamic energy of Levi Tyrell Johnson as the Hard Man, whose razor-sharp movement and commanding physical precision create a striking, almost percussive stage presence. This is deftly contrasted by the nuanced comic timing and playful irreverence of Ben Mabberley’s Joker, whose humour lands with effortless charm. The dynamic contrast between these performances adds texture and balance, underscoring the versatility and cohesion of the cast.

Freddie Huddleston’s movement direction is the golden thread weaving this production together. His choreography is crisp, succinct, and consistently purposeful, ensuring that each sequence contributes meaningfully to the narrative flow. This is most evident in the production’s later stages, where the movement builds towards a gorgeously convoluted cup dance that serves as a visually striking, rhythmic complement to the finale. The precision and coordination required for this sequence are executed with absolute clarity, eliciting a strong response from the audience.

Musically, the show draws upon a wide selection of popular tracks, including Somebody To Love, Hello, Chandelier, and Sweet Child O’ Mine, reimagined in ways that feel both respectful and inventive. The arrangements maintain the recognisable essence of each piece while adapting them to suit the ensemble’s vocal style and the production’s thematic focus. The live instrumentation, performed entirely by the cast, adds an additional layer of authenticity and immediacy to the experience.

Beneath its lively exterior, the production explores themes of friendship, vulnerability, and the complexities of modern masculinity. These moments of reflection are delivered with sincerity, often through spoken-word segments that lend emotional depth to the performance. While some of these passages risk veering into sentimentality, they are generally handled with sufficient restraint to remain effective.

There are, however, occasional shortcomings. The loosely structured nature of the show can result in a sense of repetition, particularly in the second half, where the absence of a strong narrative through-line becomes more apparent. Additionally, certain instances of audience participation may feel slightly contrived, depending on individual preference. These elements, while noticeable, do not significantly detract from the overall enjoyment of the performance.

Without revealing specifics, the production concludes with a special theatrical moment that draws the audience directly into the fabric of the show. This final gesture encapsulates the spirit of community that underpins the entire piece and succeeds in lifting the collective mood of the auditorium. It is a fitting conclusion to an evening that consistently celebrates connection, music, and shared experience. At its core, this is an ensemble production that lives and dies on the strength of the connection between its cast members, and it is precisely this unity, trust and responsiveness that ensures its success.

Ultimately, The Choir of Man does not seek to redefine musical theatre; rather, it refines and celebrates its core strengths. Through a combination of inventive design, skilled performance and genuine emotional resonance, it delivers an evening of theatre that is both entertaining and uplifting. It is a production that may occasionally lean on familiar devices, but it does so with such charm and conviction that it remains deeply enjoyable.

A vibrant and heartfelt production that blends technical excellence with infectious energy, leaving a lasting impression long after the final note.

Runs until 30 May 2026, before continuing on tour