Reviewed by Sophie Rowley
Opening Night verdict ⭐⭐⭐⭐⭐
In 2017, The Choir of Man, created by Nic Doodson and Andrew Kay, premiered at the Edinburgh Festival Fringe. The show instantly connected with audiences and found international success, this popularity has never faltered with the tour returning to the North West, this time showing at the Lowry much to the delight of this 2026 audience.
Set within an archetypal British pub, named The Jungle, the production immediately challenges conventional expectations of musical theatre, featuring a fully functioning bar on stage where audience members can enjoy a pint before and during the performance. More than a theatrical gimmick, the bar becomes the beating heart of the production, establishing a joyful atmosphere and bringing the world of the pub to life on stage. Within the opening five minutes, it becomes apparent that The Choir of Man is an unconventional musical, distinguished not only by its infectious energy but also by its exploration of masculinity, community and the cultural significance of the British pub. Rather than following a traditional linear narrative, the show unfolds as a celebration of shared experience, male friendship and the sense of belonging that community spaces can foster. Its characters, identified by archetypal titles such as ‘the Poet’, ‘the Barman’ and ‘the Romantic’, further reinforce this sense of familiarity. Each embodies a recognisable figure from the local pub, allowing the audience to identify with these characters almost immediately. Through this combination of familiar social archetypes and a shared theatrical space, Doodson and Kay create a compelling connection between performers and audience, inviting us to consider not only what it means to be a man, but also the universal human need for connection, acceptance and belonging.
The score adopts the style of a jukebox musical, weaving together popular and instantly recognisable songs from a variety of genres and eras including tracks from Adele, Katy Perry, Queen and Sia, all are reimagined and delivered with remarkable skill by the nine-strong cast. In another departure from conventional musical theatre, the songs do not necessarily drive the narrative; instead, the production embraces a concert-style format in which the performers acknowledge and engage directly with the audience. This breaking of the fourth wall is executed with infectious enthusiasm, creating an atmosphere of shared celebration that is warmly received by the Lowry audience.
Jack Blume’s musical arrangements are a particular highlight, with the impressive nine-part harmonies providing moments of genuine vocal splendour. Complementing Blume’s arrangements is Freddie Huddleston’s dynamic movement direction, which brings an additional rhythmic dimension to the performance. The infectious soundtrack seems almost impossible to resist, inviting toe-tapping and finger-clicking throughout, while Huddleston’s choreography builds on this energy through its integration of movement and percussion. Judging by the bopping heads and chair dancing throughout the auditorium, the Lowry audience is thoroughly embracing the evening’s communal spirit at ‘the Jungle’.
Debbie O’Brien certainly had her work cut out when casting this show. As stated above, The Choir of Man relies heavily on its performers delivering the triple threat of acting, singing and dancing, yet O’Brien seems to have struck gold with this cast. All nine performers share a wonderful chemistry, bouncing effortlessly off one another and fully embodying their ‘Everyman’ personas. None needs to be the obvious standout, the villain or the protagonist; instead, they must convincingly portray a group of ordinary men who are regulars at their local pub. Achieving this natural, easy camaraderie is no simple task, yet through O’Brien’s casting and the creative team’s direction, the company succeeds brilliantly. Ironically, in their efforts to portray ‘ordinary’ people, the cast prove truly sensational: their dancing is impeccably timed, their singing is world-class and their acting is exceptional.
With each character defined by a skill-based title, the performers must also embody the qualities their names suggest. The Poet (Oluwalonimi (Nimi) Owoyemi), for example, must be almost bard-like in his storytelling, particularly as he also serves as the narrator, driving the show forward. The Maestro (Gustav Melbardis) brings the qualities of a musical magician, while The Handyman (Jack Skelton) showcases his impressive tap-dancing ability. Meanwhile, The Beast (Lewis Dragisic) charms the audience with his charisma and dulcet tones. Alongside The Hard Man (Niall Woodson), The Joker (Ben Mabberley), The Barman (Joshua Lloyd), The Romantic (Sam Walter) and The Pub Bore (Aaron Pottenger), each performer contributes to the ensemble’s collective identity. These may be ordinary men, but there is certainly nothing ordinary about the performers bringing them to life. Their exceptional skill and infectious energy make these portrayals quite extraordinary. Oluwalonimi (Nimi) Owoyemi rendition of Luther Vandross’ ‘Dance with my Father’ left me speechless, the Lowry audience and I were not prepared for how devastatingly beautiful this version was and the harmonies from the other Choir cast mates was magical to watch.
Before coming to see The Choir of Man, the phrases used to describe the show were ‘high energy’, ‘pure joy’ and ‘a great night out’. All are true, but nothing can quite prepare you for the atmosphere this production creates. Its reimagined jukebox soundtrack has you tapping your feet, singing along and feeling as though you’re at a live concert. The fourth wall is well and truly shattered; you’re not simply watching the action, but becoming part of it, quite literally invited onstage to share a pint with the cast. Through clever casting, expert staging and infectious energy, it’s little wonder that the show has earned the international reputation it enjoys. Yet beneath the music, humour and good times lies something more meaningful: a celebration of community, an exploration of masculinity and male mental health, and a reminder that sometimes the most important thing is simply to be yourself. At its heart, The Choir of Man is about a group of lads down the pub, enjoying life and each other’s company. As the poster’s tagline puts it, ‘Music, Mates and Good Times’ — a sentiment that feels universally relatable. So, grab your mates and head to The Lowry for a night at the Jungle with The Choir of Man. You won’t regret it.
Showing at The Lowry until 17th October 2026, tickets are available here.
