Review: The Choir of Man (New Wimbledon Theatre / UK & Ireland Tour)

Review by Rosie Holmes

⭐️⭐️⭐️⭐️⭐️

Walking into New Wimbledon Theatre for The Choir of Man, I did so with a mix of excitement, trepidation and sky-high expectations. This is a show I already adore, having seen it twice in its West End home at the Arts Theatre, where it racked up over 1,000 performances and built a loyal following before its closure. Add to that its huge success touring America, and this UK & Ireland tour arrives with a well-earned reputation preceding it. I’ll admit, though, I had one lingering worry: could a show so rooted in intimacy and warmth thrive, and provide the same experience in the cavernous surroundings of New Wimbledon Theatre? Thankfully, the answer, quite simply, is yes. Unequivocally, joyfully, yes.

The Choir of Man is described as the best trip to your local pub you’ll ever have, and from the moment we’re welcomed into the Jungle Pub, that promise is more than fulfilled. This is not a traditional musical so much as a gloriously clever hybrid of concert, play and communal experience. The cast belts out hits from Queen, Luther Vandross, Sia, and many more, while weaving in personal stories, spoken word, and choreographed chaos that somehow feels completely spontaneous.

Despite my fears, the intimacy was not lost in the larger venue. If anything, the scale only amplified the emotion. The songs became more anthemic, the laughter louder, the silences heavier. It was a reminder of the true power of theatre with hundreds of strangers, laughing together, singing together and occasionally wiping away tears together.

What makes this show so special isn’t just its impressive song list or its clever structure, but its heart. Through astonishing vocals, slick choreography and expertly delivered monologues, we get to know the Jungle regulars, archetypes, perhaps, but ones filled with genuine humanity. The show explores male vulnerability, friendship and the importance of men talking to one another, a theme that feels both urgent and refreshingly sincere. Importantly, this isn’t just lip service. The production has launched a community initiative, inviting local choirs to join the cast at every tour stop, reinforcing the idea of building community not just on stage, but also beyond it.

On press night, this initiative made its Wimbledon debut, with the West End Musical Choir and The Busketeers joining the cast for a breathtaking performance of ‘Chandelier’. Hearing the choirs sing from within the auditorium while the cast performed on stage was nothing short of magical. It felt like a shared outpouring of joy, one of the most special moments I’ve ever experienced in a theatre, and a perfect embodiment of what this show is about. The arrangement, overseen by musical supervisor Jack Blume, was exquisite.

And then there’s the cast, an ensemble so strong it almost feels unfair to single anyone out. The true magic of The Choir of Man lies in its group dynamic. They radiate genuine affection for one another, creating a believable, infectious sense of community. While they give the impression of lads enjoying a carefree night out, the precision behind the chaos is astonishing. This is meticulous, demanding work, executed with such warmth that it feels effortless.

Still, individual highlights abound. Oluwalonimi Owoyemi leads as the ‘Poet’, delivering the show’s monologues with palpable soul and passion. His rendition of ‘Dance With My Father’ was devastatingly beautiful, one of the most emotional moments of the night. In true Choir of Man fashion, this vulnerability is swiftly contrasted with silliness. Notably, Joshua Lloyd as the ‘barman’s’ crowd-pleasing ‘Escape (The Piña Colada Song)’, a masterclass in comic timing, though it would also be amiss not to mention his powerhouse vocals, which truly soar in ‘Somebody to Love’.

Levi Tyrell Johnson brings gravitas and humour as the ‘Hard Man’, pairing rich vocals with impeccable comedic instincts. Ben Mabberley’s Joker is a whirlwind of energy, while Gustav Melbardis charms endlessly as the Maestro, his piano skills and audience rapport shining in ‘I’m Gonna Be (500 Miles)’. Rob Godfrey’s acoustic guitar work provides a backdrop to much of the show, and he gets a chance to showcase his vocals and knack for audience interaction in a charming rendition of ‘Teenage Dream’. 

Sam Walters delivers soaring vocals as the Romantic in ‘Hello’ and Aaron Pottenger, billed as the ‘Bore’, proves anything but in a laugh-out-loud version of ‘The Impossible Dream’. A special mention must go to Jack Skelton as the Handyman, who delivers one of the night’s most surprising highlights with an impressively accomplished tap dance solo; an unexpected burst of technical brilliance that earns its place as a genuine showstopper and further proves just how multi-talented this cast truly is.

One aspect of The Choir of Man that deserves its own standing ovation is the exceptional choreography by Freddie Huddleston. While the show gives the impression of spontaneous pub revelry, the dance work is anything but casual; it is intricately crafted, rhythmically precise, and bursting with unfaltering energy. Nowhere is this more evident than in the showstopping rendition of ‘Some Nights’, which transforms the stage into a tapestry of synchronised movement and exhilarating energy. What makes it more impressive is that these performers aren’t just dancing, they’re simultaneously delivering powerhouse vocals, playing instruments, and interacting with the audience. Their multi-talented brilliance is on full display here, each performer shifting effortlessly between dancer, musician, actor, and vocalist.

Adding to the uniqueness is the interactive element - audience members can head on stage before the show and during the (newly added) interval to be served a pint by the cast themselves. Yes, it could be interpreted as a gimmick, but it’s also a powerful gesture of welcome, reinforcing that everyone here belongs. Something that continues throughout the show, with audience members being invited on stage and the warmth of the cast members.

The design elements play a huge role in making The Choir of Man feel as immersive and transporting as it does, and the set and lighting work hand in hand to extraordinary effect. Oli Townsend’s set is, quite literally, the beating heart of the show. The Jungle Pub isn’t just suggested or stylised, it is a working pub (only if you like lager though!) and not many shows can boast that of their set. It’s complete with a bar tap, stools and worn-in details that immediately evoke the familiarity and comfort of a pub. The lighting design complements this perfectly, shifting seamlessly between warm, golden pub glows and more dramatic concert-style states. At times it creates an intimate, almost confessional atmosphere; at others, it floods the stage with bold colour and energy, turning the pub into an arena for communal celebration.

Ultimately, The Choir of Man remains exactly what it promises to be, joyful, inclusive, funny, moving and deeply life-affirming. It makes you feel warm, fuzzy and a little less alone, like you’ve just spent the evening at the pub with your mates. Your outrageously talented mates. If theatre has the power to build community, this show proves it, pint in hand.

The Choir of Man plays at New Wimbledon Theatre until 21st March, and tours the UK & Ireland until 5th December with further dates still to be announced.

Select dates and tickets here

Photos by Marc Senior