Choir of Man (Arts Theatre)

Anyone that knows me, in life and through the blog or podcast might remember that I have something of a reputation with being “late to the party” with certain shows. I didn’t see Les Misérables until 2011, Jersey Boys until 2013 and The Lion King until 2016. That’s just a couple examples, but they are the ones to note because they are shows that have meant, and continue to mean a lot to me, for a whole multitude of reasons.

Sadly, my record isn’t improving, as this piece dedicated to a show I saw only for the first time in October 2022. A massive part of me regrets not writing this sooner, especially now there’s been a cast change, but I also think it’s been good for me to have longer to reflect, find the right words to do my love for this piece justice, and purely have more visits under my belt to properly do the latter to the best of my ability!

The Choir of Man started life at the Edinburgh Fringe Festival in 2017, and has since gone on to play various productions all over the world, including tours in the US, Australia and Cruise Lines in Norway. It’s currently playing on the West End at the Arts Theatre, returning there after an Olivier nomination and run there in 2021.

Created by Nic Doodson and Andrew Kay, The Choir of Man is set in a traditional British pub called The Jungle, and features nine characters: The Poet, The Hardman, The Joker, The Handyman, The Beast, The Bore, The Maestro, The Romantic and the Barman. These nine gents are the Jungle’s regulars and resident pub choir, and they sing (and play) us through a whole collection of songs from the likes of Paul Simon, Adele, Queen, Guns N Roses, and Sia to name a few! The vocal arrangements of the songs are courtesy of Jack Blume (also Musical Supervisor and Orchestrator), and I really appreciate how he’s made me enjoy some of the songs afresh, and in some cases, totally anew. If I had to be pushed to choose a favourite, Chandelier is definitely up there, alongside The Parting Glass – I adore how intricate the harmonies are, and having been in a choir or three myself over the years, exciting arrangements speak to me, and there’s always been something I find spine tinglingly lovely about men in particular singing acapella!

To segue between songs, there are a series of monologues written by performance poet and original cast member Ben Norris. They cover lots of different aspects but my favourites explore what home means (this is changed depending on which cast members are performing), and how community and communication help foster good mental health. Those really speak to me because this industry is where I’ve found a community that I really value, and to have a piece that addresses the importance of the latter in said industry that is so often rooted in the idea of rejection and of course has its flaws, is something to hold on to and be celebrated.

Even though I came to this piece late, I was often aware of it, thanks to the theatrical circles of my social media – on Twitter especially; it always had such a positive buzz and energy around it, and so when a favourite of mine was announced to be joining the previous cast, I couldn’t think of a better reason to finally make a trip to the Jungle for my first outing…

And now, soon to be five trips in, I think it’s safe to say I’ve been utterly smitten with it from the very beginning. The atmosphere around this show is always really fun to be a part of, partly because I think the theatre itself is an intimate space, which not only helps reflect the pub setting (the bar actually works and you can go onstage pre show and enjoy yourself – the cast also mingle!) and even being up top where I have to sit being in my wheelchair, I’ve always felt involved and invested in the show in a way that I often feel I don’t get to the same intensity in the West End’s bigger houses, but ultimately, this show is about three things which make up its mantra: Music. Mates. Good Times. and that message is so relatable and beautifully simple, and consistently reminds me why it’s been good letting go of my self-confessed “plot fiend” nature a little and sometimes just focus on what a show, especially a musical, offers me in terms of how I feel, rather than simply hanging on whether I find myself engaged in the story, or how well the songs drive the narrative or character arcs. As a repeat attendee, I take great pleasure in seeing how different audiences react to the songs and certain moments, there’s that infectious energy that comes from a shared experience totally at the fore here. I’ve also noticed more men and a really lovely mix of ages in the audiences I’ve had here compared to other audiences I’ve been a part of, and that’s really refreshing too.

The scenic design by Oli Townsend, though simple is really characterful and evocative, I’ve mentioned that the bar works, but my favourite touch is the stain glass effect on the bar. The lighting design by Richard Dinnen really heightens the atmosphere too, often just with a change in colours or intensity: my favourite sequences on that front are: “Hello” and “Fifty Ways To Leave Your Lover”.

It’s easy to see that the cast take such joy in our energy as an audience, and from each other. The piece is so high energy and generally upbeat, but there’s also some quieter moments and ballads that really allow the cast to show off their vocals. Sometimes switching tonally like that has a tendency to feel jarring, but it works well for the character and feel of this show, and what surprised me initially and now continues to blow me away is how such a simple premise is so magnificently slick – not just intricate harmonies but in terms of the choreography and movement from Freddie Huddleston. I’ve mentioned it before but I adore the choreography in “Fifty Ways…”, and the “Cup Dance” and “Escape” are my other favourites! At 90 mins straight through, it whizzes by and I am always in awe of the guys being able to maintain their stamina and energy with the intensity they do.

I love shows that make me feel and think about life, and Choir of Man has given me that in a whole host of ways: moments in the script (especially those from the Barman and Maestro) still make me laugh with belly aching intensity, I remember the first time I went my mum and I shed a few tears during “Dance with My Father”, and it reminds me so much of the power of community and music- I often think of my friends when I watch and I feel very lucky to have been able to share it with a few of them so far!

Choir of Man has a cast of nine – but I’ve been privileged to have 13 in my time with the show so far. So to start, a word on the swings, who of course as all understudies do, really make sure a show can go on! I saw Denis Grindel lead my original line up as The Poet, and later Gavin Ryan, followed by Conor Hanley. Seeing three very different takes on the songs and energies to the role has been my privilege; with Conor in particular I am so sorry my most recent trip was my first and last opportunity to see him in the role, but as it was his West End debut, I look forward to seeing him shine again wherever his career takes him.

I’ve also had the chance to see Tom Miles as The Bore, he was wonderfully sweet and funny and I can’t wait to see him bring those qualities to The Beast in future outings, and hear his “Teenage Dream!”

I believe when I first saw the show, Mark Irwin was still a swing for The Barman, before taking on the role full time. I am complete awe of his interpretation of my karaoke staple in particular and love his dry wit and comic timing.

Sam Ebenezer has been my “Super Swing” with the show having seen both he and Matt Beveridge share the role of the Romantic. I’m so honoured to have seen both of them give stunning vocals and a gorgeous, vulnerable performance. In Sam’s case, I’m so glad he’s sticking around alongside Mark and I hope to strategically plan a few of my trips to see him in the other tracks he has this time round!

I will miss Levi Tyrell – Johnson’s swagger and charisma he brought to The Hard Man immensely; he has great presence and a soul and power to his voice that really impressed and moved me and I look forward to supporting him in his future ventures. Speaking of The Hard Man, I’m so excited to see Adam Bayjou take over, this show is quite a drastic change from the one that introduced him to me!

Mike Baxter’s Maestro always made me cry with laughter, and Owen Bolton charmed instantly as The Beast. I look forward to the day Jordan Oliver’s incredible dancing feet are in my life once again, and it’s been a joy to see one of my former Jersey Boys Matt Thorpe as The Joker, I’m grateful for his warmth and silliness and the amazing harmonies.

“Thorpey” wasn’t the only Jersey Boy in this girl’s heart to join this cast: Matt Nalton was my original Bore and at the time of seeing Choir of Man for the first time, I hadn’t seen him for five years and I’ve been so happy to have him back in my theatregoing life. He brought all the warmth and charm to the role I already knew he would and could, but it’s been fun seeing him in a role where he’s been able to let loose a bit more, and show off his vocals with the Bore’s musical theatre classic!

Special thanks to Nalton, Levi, Matt, Gavin, Sam and Jordan for popping up to say hello during the pre-show when they were able, it’s never expected but ALWAYS appreciated as my wheelchair means I can’t join in the fun, and I’m so grateful to all of you for the time you’ve given to me after the show too.

In the grand scheme of things, Choir of Man hasn’t been in my life as long as some shows have, but I know that thanks to the casts I’ve had and the sheer, pure joy factor it gives me, it has a place there for as long as the Jungle keeps pulling pints.