I don’t care for the series. I tried to watch the whole thing before coming to press night, but I couldn’t stand more than 5 minutes. I wasn’t too worried, though. After all, I had already seen all the important bits (some longer than others) by changing my VPN location. But as this musical states in the opening, the TV show has had an unprecedented impact worldwide—not only among queer people, but also among straight middle-aged women with vivid imaginations and who can’t virtually shut their holes (any of them) about it.
So here we are. The Off-Broadway parody has arrived in the London scene. And it seems the long trip was worth it—especially for audiences. It’s absolutely hysterical. If you’re a fan of absurd musical comedies such as Police Cops or Homo Alone, another hilarious spoof I can’t wait to return to, surely this production will be right up your alley: it’s awfully amusing, cleverly stupid, and deliciously over-the-top from start to finish (and under him as well).
Everything about it is overblown. So are its protagonists (quite literally), but it never feels like they are pushing too hard. The humour is organic and instinctive. And for the most part, it’s surprisingly good. Its overall sophomoric jokes aren’t devoid of wit and sharpness. You can tell the piece is written by someone who knows exactly what they’re doing. And most importantly, they know very well how to do it.
The result speaks for itself: a beautifully structured, perfectly paced narrative that grips the viewer from the start and keeps the engagement high until the very end. Every song is justified and properly placed. And just like the main characters, they come at the right time. The score is intentionally derivative, with most melodies serving as tributes to an eclectic repertoire ranging from classic Broadway to Disney and pop-diva anthems. And the lyrics are flawlessly rhymed and delightfully tongue-in-cheek, matching the show’s energy on every possible level, if you know what I mean.
The cast honours the material with remarkable prowess. The only exception is lead actor Zheng Xi Yon (Shane), who has certainly grown as a performer since his hardly passable portrayal in Your Lie in April. Still, his delivery is extremely one-note, while his voice is excessively nasal and unsupported.
On the contrary, co-star Joseph Dann is nothing but superb as the closeted, self-conscious Russian player Ilya, flaunting an impeccably powerful singing voice and a natural bent for dry humour, which is fairly ass-piring (you’ll understand when you watch it). The same praise goes to the ensemble, with May Tether earning a special mention for her uproarious, versatile performance, flip-flopping roles with unlimited comedic stamina and range while once again demonstrating extraordinary singing skills.
If you’ve been living under a rock for the past year and this is the first time you’ve heard of Heated Rivalry, this might be the perfect way to break the ice with the IP — or even pop your cherry with gay theatre and this parody style. It’s droll, endearing, and incredibly entertaining, so get your skates on and book a ticket while you can. The script will crack you up. And you’ll be impressed by how some of its tools can even tear you apart. For all we care, that’s the bottom line.
Help us continue our work
We count on your support to keep bringing the greatest quality in theatre-related content, from interviews with the biggest names in the industry to reviews of every show in town and beyond.
We appreciate every donation to maintain our high pace and standards and continue to grow.
Thank you for believing in us!
***************************************************
Heated Rivalry: The Unauthorised Musical Parody plays at London’s Underbelly Boulevard until 1 November. Tickets are available on the following link.