Little Lark of London

“This is proper old-school pub fun”

The Choir of Man, created by Andrew Kay and Nic Doodson, is a celebration of pub culture in London with a focus on the importance of community. There is a heavy focus on men’s emotional health, a topic which certainly needs more representation in the mainstream media. With over 2,000 pubs closing after the coronavirus pandemic, The Choir of Man emphasies the need for there to be pubs for the sense of camaraderie that is built through them. 

Scenic Designer Oli Townsend has turned the Arts Theatre into a pub called The Jungle that blurs the line between audience and stage. You are able to purchase a token which allows you to go on stage and get a pint (there is only the one option, which is a bit of a shame as someone who doesn’t really like beer and would’ve loved a cider). The cast members drink alcohol-free beer throughout the show, courtesy of their partner, Big Drop Brewing Co. While on stage, audience members can interact with the actors, chatting, drinking, making a tower of plastic cups and even doing card tricks with some coasters. The show really starts around twenty minutes after its set start time, as the final audience members find their way to their seats. 

The live band above the “Jungle” pub starts playing and the cast jumps into “Welcome to the Jungle” with a burst of energy, dancing around the stage and singing their hearts out. From the first second, it is clear that the performers love what they are doing, grinning as they clink glasses with one another and sing to the audience. After the first song, the Poet (Sam Ebenezer, one of the show’s swings), introduces each of the performers. There’s Maestro (Michele Maria Benvenuto), the pianist of the group, Hardman (Adam Bayjou), the serious one who rarely smiles, Beast (Tom Miles), a guitar player with a glorious beard, Bore (Richard Lock), the operatic one, Joker (Daniel Harnett), a man constantly pranking the others and taking selfies, Handyman (Ben Goffe), a cell-phone obsessed tap dancer, Romantic (Jay Hudson, another swing), a lover, and Barman (Mark Irwin), whose nickname is quite self-explanatory in a pub.

If you’re looking for a show with some stunning vocals and high energy, you’ve certainly come to the right place. With hits like “Save Tonight/Wake Me Up,” “Escape (The Piña Colada Song),” “Some Nights” and “Somebody to Love,” audiences of all ages will find something to dance along in their seats to. Vocal Arrange and Orchestrator Jack Blume is able to adapt each of the songs in the show to the advantage of the performers, allowing them to each show off their skills while blending together as a great ensemble. I loved Maestro’s “jazz version” of “I’m Gonna Be (500 Miles),” which, as you might expect, eventually dissolves into the classic chaos of the audience yelling along to the chorus as Maestro mutters “I’m not angry, I’m just very disappointed.” Choreographer Freddie Huddlestone has done a fantastic job of transferring the high energy of the songs into the performer’s movements, adjusting depending on the mood of the moment. A standout choreography moment is when Ben expresses his frustrations through tap dancing in “50 Ways to Leave Your Lover,” even if it does feel a little out of place. 

There is plenty of audience interaction throughout the show including audience members being brought onstage, free pints being passed out and even coasters being thrown into the audience.  A particular highlight was when an older couple was brought on stage and the lady was serenaded by Beast with a gorgeous acoustic rendition of “Teenage Dream” while her partner watched from across the stage. Luckily, the audience seems to recognise when to stop participating and listen to what is happening on stage, even with drinks in hand. I only noticed a few audience members causing issues, but the wonderful front of house staff quickly dealth with them so they did not disrupt the performance. 

One thing that I was a bit unsure about was the separation between the characters and the performers, as they are referred to by their real names and also their stage nicknames throughout the show. I’m curious as to how different the show is when there are different actors, and whether their stories are adapted to fit their real life backgrounds. The writer of the monologues, Ben Norris, has some powerful statements to make, but they sometimes struggle to land after the audience has just spent the past few minutes jamming along to pop and rock songs. I found the rhyming prose to be a bit too cheesy at times and think simply speaking would have been a bit more effective. 

There are some more emotional moments that come out of nowhere and feel a little forced, like when the Romantic begins belting out Adele’s “Hello” while the other men react in slow motion to a football game on the telly or a sudden tribute to those lost in “Dance With My Father.” The one emotional moment that really hit for me was the final song, “The Parting Glass,” as it is a classic folk song that is sung at my local Renaissance Faire back in the United States as a way of saying goodbye at the end of the day. 

Ultimately, The Choir of Man is an entertaining show with some truly incredible performers. Even if it can be a bit preachy at times, the messages it shares are important and will leave you feeling just a little bit better about the world once you leave the theatre. 
The Choir of Man is currently running until June 2024 at the Arts Theatre. Tickets can be purchased here.