Review: Why Would We Care? (Union Theatre)

Review by Dan Ghigeanu

⭐️⭐️⭐️

There is something undeniably exciting about sitting down to watch a brand-new British musical. No expectations, no baggage, no cast album to mould your opinion with just the promise of discovering something new. After a successful reading at The Other Palace last summer, Why Would We Care? makes its fully staged premiere at Union Theatre, arriving with an intriguing premise and a clear desire to say something meaningful about conformity, control and the cost of perfection.

With music and lyrics by John-Michael Mohoney and direction by James Connor, the show aims to blend dystopian storytelling with emotional intimacy, it’s a bold ambition, and while there are flashes of genuine brilliance, the final result is a production that struggles to fully settle into itself.

The story centres on Pearl and Theodore, two lifelong outsiders who have never quite belonged in their hometown. When they receive an invitation to move to Wesstleborough, an exclusive, picture-perfect community governed by two enigmatic leaders, it feels like an answer to their prayers. The streets are immaculate, the neighbours are endlessly welcoming, and privacy is guaranteed beyond imagination. Naturally, as with all utopias, something isn’t quite right. Behind the polite smiles and manicured façades lies a society built on surveillance, strict roles, and a mysterious “medicine” designed to keep its residents healthy and compliant. As the cracks begin to show, Pearl is forced to confront a harrowing choice of protecting herself by playing along, or risking everything by exposing the truth. It’s a premise packed with potential, echoing familiar dystopian narratives while still leaving room for originality.

On paper, Why Would We Care? has all the right ingredients for a compelling new musical. In practice, however, the storytelling is uneven. The first half in particular struggles to find momentum, with exposition-heavy scenes and a lack of urgency that prevent the audience from fully investing early on. It isn’t until midway through the show that the tension finally begins to build, at which point the narrative becomes genuinely gripping. Unfortunately, by then, valuable time has already been lost.

Pacing is one of the production’s biggest challenges. Moments of high drama sit alongside scenes that feel underdeveloped or unclear, resulting in a show that never quite decides what it wants to be. Is it a psychological thriller? A romance? A cautionary tale? At times it attempts to be all three, but without the clarity needed to allow each strand to flourish.

The cast, however, work hard to bring emotional depth to the material they’re given. Taylor Quinnell’s Pearl is sensitive and grounded, capturing both vulnerability and quiet strength, while Joseph Dennington’s Theodore brings warmth and sincerity. The chemistry between them is undeniable, making their relationship one of the show’s strongest elements. Their duet towards the end of Act Two, ‘I’ll Love You Till I Leave’, is a genuine highlight, tender and emotionally charged.

Will Byrne’s Cecil is introduced early on as a significant presence within Wesstleborough, but the character never quite develops beyond the perceptions of others. There’s a sense that more could have been done to flesh him out, adding further layers to the town’s unsettling power dynamics. Camille Reid, Alex Webster and Houston McDowall, playing Lillie, Clara and Arthur respectively, function largely as part of the ensemble, but each is given moments to shine and handles them well.

Two performances, however, consistently demand attention whenever they appear on stage. Gaby Coleman’s Marion and Riain Cash’s Rufus are magnetic, delivering nuanced performances that feel fully realised. Both possess powerful, controlled voices matched by strong acting choices, making their characters fascinating to watch. Cash’s ‘Need A Man’ is one of the standout musical numbers of the evening, while Coleman brings a compelling emotional intelligence to her role that elevates every scene she’s in.

Musically, Mohoney’s score contains several memorable moments, even if it lacks consistency overall. Every cast member is afforded a “big” number, but not all leave the same impact. Camille Reid’s rendition of ‘The Chance’ is beautifully delivered, offering a moment of calm reflection amid the chaos, while other songs struggle to push the narrative forward.

Ultimately, Why Would We Care? is a show with a strong concept and clear ambition, but one that still feels like it’s searching for its final shape. There is real promise here, in the music, the performances, and the ideas at its core but it would benefit from tighter pacing, clearer storytelling and more focused direction.

As a fully staged premiere, this feels like an important step in the development of the piece rather than its finished form. With refinement, Why Would We Care? could grow into something genuinely special. For now, it remains an intriguing, occasionally frustrating, but often engaging addition to the ever-growing landscape of new British musical theatre.

Why Would We Care? plays at Union Theatre until 31st January. Tickets from https://uniontheatre.biz/show/why-would-we-care/?utm_source=chatgpt.com