Review: Heated Rivalry: The Unauthorized Musical Parody (Underbelly Boulevard)
Review by Aanya Sisodia
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Inspired by Crave’s record-breaking original series, itself adapted from Rachel Reid’s Game Changers novels, Heated Rivalry: The Unauthorized Musical Parody retells Shane Hollander and Ilya Rozanov’s story with wit, fun and plenty of ice hockey references while celebrating queerness, comedy and cheeky musical numbers. The television series became a cultural phenomenon, with Shane and Ilya at its centre. On the ice, the men are fierce rivals; behind closed doors, what begins as a frivolous, flirtatious relationship evolves into a meaningful connection that they must navigate while remaining competitors in professional hockey.
After an acclaimed Off-Broadway run at The Culture Club, the show transfers to Underbelly Boulevard Soho, so whether you’ve watched the series, know the books or had the edits take over your TikTok algorithm this summer, you’re aware of how seismically Heated Rivalry entered the pop culture zeitgeist and can appreciate the lyrical and comedic campness of this production.
Although audiences may have to wait until next spring for the second series to hit our screens, writer Dylan MarcAurele saw a chance to keep the characters of Ilya and Shane alive in a joyously brilliant way. Known for his smash Fringe creation Pop Off, Michelangelo!, MarcAurele’s camp writing takes the musical parody to another level. Its sharpness and wit are evident in the way it blends references to the TV series with wider pop-cultural references, such as YouTube videos and LGBTQ+ allusions, without ever leaning into cringe or awkwardness. Everything landed. It wasn’t simply a rehashing of Heated Rivalry in musical form; it was also about the audience and their experience of watching the show.
Alan Kliffer, who served as Artistic Director at Asylum NYC when the venue debuted Titanique, directs the musical parody, leaning into similar comic elements. Adapting and parodying a pop-cultural phenomenon can easily become overdone or short-sighted, but Kliffer’s direction culminates in a feast for the eyes. The brilliantly flashy lighting design by Devin Cameron, recorded soundbites of inner monologues that often break the fourth wall and recognisable set and décor pieces, such as the infamous cottage, draw roaring laughter and knowing appreciation for the effort and consideration that went into staging the show.
Naughty, playful and explicit, the production doesn’t shy away from the TV series’ raunchier and steamier scenes. Notably, props supervisor Anna Hunt must be commended for her fantastic choices in bringing these scenes to life. Sully Ross’s seemingly simple pre-set comes alive through fantastically surprising references and comedically effective scene changes, adding to the musical comedy’s dynamic energy. Brendan McCann’s costume design, supervised by Beth Qualter Buncall, also nods to the TV series through both subtle and in-your-face recreations of familiar outfits.
The show opens with an unexpected number starring a trifecta of Susans at home stumbling across the smutty hockey drama. May Tether guides the narrative as the narrator and Main Susan whilst also multi-rolling across the production. Her comedic timing, brilliantly melodramatic characterisation and amazing vocal choices fit the style of the show perfectly, providing an almost whimsical way of letting the audience in on the action as well as making them part of it.
Tether even invites a member of the audience to become one of the show’s supporting characters. The scene-stealing moments created by this audience interaction ensure that future performances will be bespoke and original, with a new Scott Hunter each night. Scott is one half of the secondary romance that catalyses the development of Ilya and Shane’s relationship within the sporting world.
The show’s caricatured characters are no better embodied than in Zheng Xi Yong’s Shane Hollander. Yong displays an awareness not only of the character in the TV series but also of how he has been read and reframed through pop culture and social media. Yong’s bright, upbeat and whimsical characterisation of Shane allows him to land many of the evening’s best jokes, while Shane’s innocence and lack of awareness of his feelings and relationships make for powerful ballads and strong choreographic moments, which Yong delivers with confidence and conviction.
Ilya is equally caricatured, right down to his ass. Joseph Dann commits to both Ilya’s hard exterior and underlying sensitivity, particularly through the fabulously cheeky ballad ‘Big Ass, Cold Heart’. Dann brings Ilya’s softer, more romantic side to the fore before snapping back into his hard exterior with a level of comedic timing that earns laughs every time. In his professional stage debut, Dann’s characterisation, commitment to the role and impressive vigour earn him resounding applause when he states, "I’m coming to the cottage".
Initially appearing as part of the trifecta of Susans before multi-rolling across the production, Andrew Berlin and Sylvie Stenson bring the world around Shane and Ilya to life. Playing Ilya’s Dad and Shane’s Mom respectively, the two hilariously exaggerate the parental characters seen in the TV series. With Shane’s Mom focused only on winning and sponsorship deals, and Ilya’s Dad equally focused on winning while also being a complete parody of villainous Russian patriarchs, Stenson and Berlin distinguish each supporting character with ease. Their shared comedic timing, genius character choices (Berlin at one point goes into the audience for a participant’s phone) and incredible vocals, particularly Stenson’s dynamic choices in her repeated delivery of ‘girl’, complete the musical parody universe that Kliffer and MarcAurele have created.
This pop culture parody makes for a joyously camp night out, with the audience feeling as much a part of the action as viewers of it. The writing and direction reimagine the TV series through innovative and intentional choices, demonstrating an awareness of the source material, the confines of the genre and its wider pop-cultural context. Heated Rivalry: The Unauthorized Musical Parody lands every joke and reference, resulting in a celebration of queerness, pop culture and pucking.
Heated Rivalry: The Unauthorized Musical Parody plays at Underbelly Boulevard Soho until 1 November. Tickets from https://underbellyboulevard.com/tickets/heated-rivalry-the-unauthorized-musical-parody/
Photos by Matt Crockett.