Review of ‘RepresentAsian’ (2026, Lyric Theatre): “Well-intentioned concert is a proud achievement, but it can do better”

This isn’t the first time Britain has challenged public perception across the performing arts. As the concert’s host, Nina Wadia, made audiences repeat after her (her signature sass accompanying her throughout the evening), talent knows no boundaries. In a time when musicals seemed to have signed an exclusivity contract with the US, composers like Lionel Bart and Andrew Lloyd Webber proved the world wrong by colonising the holy land of American theatre — hopefully nobody will be asking for reparations in a hundred years.

They are right to say so once again. It’s not like this country is low on highly competent people. Whether those people have made it to the big stage is a different story. There’s frustration across the West End, at least from my side. I do agree with the idea that the best actor for a specific role should get the part. Yet, that hasn’t been the case for a while. And that affects both consolidated pieces and more recent acquisitions.

In this regard, RepresentAsian makes a fair point by delivering a competent showcase of established and new artistes while advocating for a more prominent presence across the industry. And some of them truly deserve it. Although far from the most ideal cast, there’s hope and reassurance in what they’ve brought to the table in their 2026 edition: from emerging talent that’s likely to secure a more than decent future in London’s theatreland to a couple of exquisite renditions by household names who are fairly worthy of the title.

We also find a few sparkling gems in between. Mia Kobayashi’s exceptional comedic timing and clean, well-supported voice shine especially in the second act’s opening, through a hilarious number about a neurotic singer who wishes her pianist abandoned his keyboard for a while and put his fingers elsewhere. At the same time, Hiba Elchikhe wins audiences over with her mellow yet robust vocals during The Notebook‘s My Days, and although she still doesn’t have enough command to master Wicked’s The Wizard and I on a musical level, her high stamina and emphasis on the text make up for those shortcomings to an agreeable extent.

The same applies to Nadim Naaman, who doesn’t exhibit the best pitch when paying tribute to another of Schwartz’s standards, Beautiful City. Several fragments feature occasional out-of-tune notes, but his magnetic, soulful acting somewhat counterbalances them. His voice complements Soophia Foroughi well enough during their interpretation of the Bocelli-Dion classical-crossover hit, The Prayer, although tiny errors can be spotted when he harmonises. That doesn’t happen to Foroughi, who excels in every appearance, displaying her astounding range, galvanising flair, and flawless technique — suffice it to say, she’s an absolute force of nature.

Sameer Dhanjee makes a compelling West End debut, particularly through his solo performances of The Journey Home (Bombay Dreams) and Rina Sawayama’s Phantom, despite evident struggles with vocal ornamentation and exaggerated mannerisms. However, his young age is probably to blame. In addition, Charlie Moscrop is one of the most promising budding talents, exuding charm and effortlessness, with a warm, seductive, yet not fully mature singing.

Zheng Xi Yong is unfortunately the company’s weakest member. Despite starring in musicals such as Your Lie in April (Harold Pinter) and Heated Rivalry, his singing skills are poor and somewhat amateurish. He has very little vocal support (leading to an inevitable crack during the climax of The Hunchback of Notre Dame‘s Out There), and his overall execution is too nasal and lacks proper intonation. His only adequate rendition is his duet with Kobayashi, former co-lead in Your Lie in April, although I might have overlooked some blemishes while trying to figure out which tune Frank Wildhorn was ripping off.

With a special, enjoyable appearance by Olivier Award-winning actor James Hameed (Paddington), the 2026 edition of RepresentAsian honoured its cause satisfactorily. Yet, I wonder if a few better examples were sitting in the audience rather than standing onstage. Nonetheless, there was enough magic to captivate. If everyone had captured it, the spell wouldn’t have been broken.

All pictures credit to Danny Kaan.

By Guillermo Nazara