Review: OSCAR at the Crown (The Crown)

Review by Daz Gale

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Have you ever wondered what is behind the unassuming doors you walk past in central  London? There’s a huge possibility one of them may house a secret bunker far in the fascist bunker, playing host to a group of outcasts… or it may just be a stockroom for a Starbucks - who can say? It’s the former you’ll find behind a door in Tottenham Court Road at the moment, as theatreland just got bigger with the London premiere of OSCAR at the Crown but would this new twist on musical theatre drive me wilde and take the crown when it comes to exciting new musicals?

After taking New York by storm and a run at the Edinburgh Festival Fringe in 2023, London audiences now get a taste of OSCAR at the Crown - but what exactly is it? Well, its premise is that the world is ending (doesn’t sound too dystopian so far) and a secret society has gathered in a bunker to live their true lives in a celebration of queerness, Oscar Wilde… and the Real Housewives. Over a single act of 90 minutes, Oscar Wilde is brought back to life to recount some of the moments he lived with some interesting and unexpected comparisons.

If that all sounds quite bizarre to you, it all makes sense in the concept… just about. Completely immersive, OSCAR at the Crown is more than a musical, it is a night out and an experience in itself. This is achieved by having the main show itself merely form part of the evening, with the cast mingling amongst you before the show even begins and encouraging you to carry on your night once it has concluded. The result is a dance party, musical rave, and a night out clubbing - all with a show too.

While the concept itself is intriguing, some elements prove more successful than others, with the differing aspects clashing, though this is very much deliberate, I expect. That said, it is hard to follow the story as much as you might in a conventional theatre, with the cast's encouragement to abandon all rules, meaning the audience regularly drowned out the cast with their own conversations. So do I review this as a show, an experience, as an idea, or the success of its idea?

The answer is a bit of everything, and the success of all of this is wildly (sorry) inconsistent. The story can be a bit paper-thin at times and seems to distract itself, with its changing tone not always packing the punch it requires. There are moments of brilliance to be had, though how you connect to it may very well be dependent on how much of the cast you can see (I’ll give a tip for that a bit later on in this review). Pop culture plays a big part in the narrative too with Real Housewives and The OC playing big parts of the story - if you’ve never watched either of those shows, you may find yourself in a similarly confused position as me - though I did personally enjoy what must be a fairly new line regarding Carrie Underwood of all people.

More successful are the songs themselves. Written by Andrew Barret Cox, it was first released as an album in 2019 and certainly has a cult following, as I spotted audience members singing along. It isn’t hard to see why with earworms such as ‘Julie’ truly addictive. Closing number ‘Glimmer Of Light’ proves an easy standout, bringing more of a conventional sense of musical theatre with its big ballad theme slightly reminiscent of ‘Heart Of Stone’ from Six and ending the main show on a high. Cox also supplies the thrilling choreography, exquisite to witness and meticulously performed, feeling far larger than the small stage (or even boxes) the cast found themselves on.

The cast is not limited to the stage and move about the venue freely with moving boxes, setting up new stages around the space. Think the Bridge Theatre’s recent production of Guys & Dolls, only we should probably refer to this production as more ‘Gays & Dolls’. Director Shira Milikowsky brings the show into the audience in a production that can often be too close to comfort but gloriously so. Sometimes, the cast can appear somewhere the sightlines may prove restrictive and connection may be harder when the cast are at completely the other end from you, but this is inevitable at certain points of the show, unless you consistently follow the cast around throughout. My advice would be to stand somewhere in the middle between the stage and the DJ booth at the side, avoiding the other side of the space where only minimal activities happen - this will ensure you get the best sightlines throughout and are never too far away from any of the key pieces.

Book writer Mark Mauriello reprises his role to lead the cast as Oscar, displaying charisma, talent, and incredible vocals in his portrayal. He leads a cast of twelve who work as an ensemble, getting their own moments to shine but coming together collectively to impress with their vocals and dancing abilities. The one outsider among this cast is late addition Elizabeth Chalmers as Constance, who spends the majority of the show isolated but more than makes up for it with a rousing and ridiculous vocal at the show’s climax.

The question I asked myself during the performance was, “who will this show appeal to?” It is a difficult question to answer as musical theatre lovers may prefer more of a conventional setting, while those who are there for the more club aspect of the piece may not be too invested in the story or actual performances. There is a cross-section of people who enjoy both, but I do wonder if many of the people attending will fall more into one of those categories and not be as completely enamoured by it all. To that extent, OSCAR at the Crown suffers a bit of an identity crisis, through no fault of it all. It’s a similar issue I found with last year’s short-lived Priscilla The Party that also struggled to identify who its audience is and why.

There are going to be some musical theatre lovers who love how refreshing and different OSCAR at the Crown is, and it is certainly refreshing to have something so distinct pop up in the West End, but I also wonder if some may have the same reaction as me and find themselves distracted and not as easy to connect to the story and more theatrical aspects as they would have liked. It certainly comes down to personal preference, and while I used to find myself in many a club in my younger days, I feel I may have needed an ageing portrait in my attic to help me match the energy of both the performers and my fellow audience members

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So what is my overall verdict of OSCAR at the Crown? To be completely honest, I’m not sure. I loved parts of it and didn’t quite love others but what it does get right is stunning, particularly when it comes to the performers and those songs, which I will now be listening to at my own leisure, ready if I ever venture back into this bunker for a repeat visit. The idea behind this production is certainly admirable, and it would be boring if every kind of show out there was identical in style, space, and structure. For that, I commend all involved for attempting something different, though I can’t be sure how cohesively every aspect works. I’d recommend this more for a night out, dance party, and an experience rather than a musical itself, but if you are looking for something a bit different to do, a trip into this fabulous and inclusive secret bunker really wouldn’t be the end of the world.

OSCAR at the Crown is booking until 31st August. Tickets from https://allthatdazzles.londontheatredirect.com/musical/oscar-at-the-crown-tickets 

Photos by Luke Dyson