Review: Grindr: The Opera! (Union Theatre)

Review by Phil McCullough 

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Grindr has transformed gay dating over the last fifteen years in ways that predecessors Manhunt and Gaydar could only dream of. It has been the quick way to get a hook-up with one catch - quality not always guaranteed. Grindr: The Opera! takes the world's most notorious dating app and turns it into a musical comedy with mild operatic undertones. The show is packed with hook-ups and plenty of sex as well as heartbreak and high notes. But does this award-winning musical have anything new to say about modern gay life, or does it ultimately play things a little too safe?

Written by Erik Ransom, Grindr: The Opera! follows four very different men navigating the world of online dating through Grindr. Devon is looking for love, Tom is more cynical, Jack embraces the hedonistic side of Grindr, and Don is wrestling with his own insecurities and desires. Overseeing everything is Grindr itself, personified as a flamboyant, all-powerful force pulling the strings of its users. Think of her like a goddess to rival Madonna and Kylie. The show explores modern relationships, loneliness, lust and the search for connection through a score that blends musical theatre with operatic influences. There was a good level of comedy throughout the production, and although there were laughs in the theatre, these gags weren’t exactly reinventing the wheel.

The biggest strength of the production is undoubtedly the music. The songs are consistently well-written, and there are some genuine showstoppers scattered throughout the evening. One of the opening tracks was aptly titled ‘Manhunt’, and it had the energy and vitality of a number from a big West End production. The score reminded me at times of Dear Evan Hansen, particularly in the way it balances humour with emotional sincerity. The melodies are catchy, the lyrics are clever, and several songs linger in the memory long after the curtain call. You could feel Britney and Gaga's energy seeping out of some of the excellent contemporary tracks. I expected the production to have plenty of funny moments, and they didn’t disappoint. The comedy also lands well, with Grindr users being able to recognise many of the situations and stereotypes on display. There is plenty of camp humour, sexual innuendo and playful self-awareness, with the show knowing exactly what it is and never taking itself too seriously. However, this is also where my biggest frustration lies.

At times, it can feel like an opportunity missed. There are moments where it hints at darker and more complex issues within contemporary gay culture, but it rarely digs beneath the surface. Grindr has fundamentally changed the way many gay men interact with one another, and there are countless fascinating stories and social issues that could have been explored further. The show touches on loneliness, body image and the pursuit of connection, but I would have liked it to go further. Even while maintaining its lighter tone, there was space to explore topics such as chemsex, addiction, party drug culture and the devastating impact substances such as G and T continue to have within parts of the community. These issues are not fringe concerns. They are realities that affect many lives and could have added greater depth and emotional weight to the piece. Instead, the production often feels like "Grindr Lite". It remains entertaining throughout but rarely feels dangerous, provocative or particularly challenging. For a musical built around an app that has fundamentally reshaped modern gay culture, I found myself wanting more bite.

The ensemble cast is strong throughout, representing a wide range of Grindr archetypes, from twink to ageing married business executive. Will Joel delivers a vibrant and energetic performance as Jack, a character who is unapologetically out, loud and eager to embrace the hedonistic side of the app. Joel dazzles during the show's lighter moments but also reveals genuine vulnerability in some of its more harrowing scenes. Derrick Walker is equally impressive as Don, an older married man willing to pay for fresh meat. Walker initially plays the role of humour, and you find yourself sympathising with Don despite his flaws. That sympathy only serves to make his later actions all the more shocking. It is a nuanced performance that captures the complexity and contradictions of the character exceptionally well.

The standout performance of the evening came from Christian Lunn as Grind itself, reimagined as a mythical deity overseeing the lives of its users. Lunn plays the role with sass, mischief and just the right amount of menace as the ultimate tempter of men. There is more than a hint of Dr Frank-N-Furter from The Rocky Horror Show in the performance, which feels entirely appropriate. Vocally, Lunn is outstanding, bringing an operatic quality to the production with a powerful voice and impressive range that elevates many of the show's biggest musical moments. 

Overall, Grindr: The Opera is a slick and polished affair. The pacing keeps the evening moving, and the cast throws themselves into the material with enthusiasm. The performances are strong across the board, and the energy never drops. With clearly a great deal of affection for both the material and the community it represents. The songs are excellent, the comedy is sharp, and there are some genuinely memorable musical numbers. Yet I left feeling that the show had only scratched the surface of its subject matter. It is fun, entertaining, and crowd-pleasing, but it rarely pushes beyond that. However, for audiences looking for a lively night out packed with catchy songs and camp humour, Grindr: The Opera! absolutely delivers. 

Grindr: The Opera!  plays at Union Theatre until 19th July. Tickets from: https://uniontheatre.biz/show/grindr-the-opera/