[title of show] at Crescent Theatre, Birmingham Review

Written by Katie for Theatre and Tonic

Disclaimer: Gifted tickets in exchange for an honest review

---

There are plenty of musicals about making a musical- The Producers, 42nd Street, and A Chorus Line, to name a few, but [title of show] takes that concept and dives full-tilt into meta territory. This clever, self-referential gem blurs the boundaries between creation and performance, art and artist, fiction and reality, and this production at The Crescent Theatre pulls it off with intelligence, charm, and infectious energy.

Following two struggling writers, Jeff and Hunter, as they attempt to create a musical in just three weeks, the show becomes a love letter to the act of making art itself. With a sparse set (just four chairs and a keyboard) and a script that constantly comments on its own construction, the play could easily have become confusing or overly indulgent. Instead, thanks to a sharp cast and witty direction, it manages to be not only comprehensible but thoroughly engaging.

Mark Horne plays Jeff with a quiet focus, capturing the more grounded, analytical half of the central duo. A touch more polish on his accent wouldn’t go amiss, but his performance is otherwise thoughtful and balanced. Playing opposite, Mark Shaun Walsh’s Hunter, brings a welcome flamboyance and impressive vocal range, particularly in the show's tighter harmonies.

Joanne Brookes as Heidi is a true standout. Her performance of “A Way Back to Then” is a highlight - sincere, emotional, and beautifully sung. She brings both vulnerability and vocal strength to the role. Hannah Lyonmears as Susan is her comedic match; quirky, endearing, and wildly relatable. Her rendition of ‘Die Vampire, Die’ (a humorous ode to artistic self-doubt) landed with perfect comic timing and genuine warmth.

It’s when the four performers come together in harmony that the production truly shines. The vocal arrangements are deceptively complex, yet the cast navigates them with precision, weaving harmonies in and around one another with ease. This isn’t a one-off either - most of the numbers feature these intricate layered vocals or overlapping lines, and the ensemble handles them with impressive confidence. A standout number for me was ‘Monkeys and Playbills’, a rapid-fire roll call of forgotten musicals that’s pure joy for theatre buffs. The show is peppered with subtle references; snippets from Into the Woods, a cheeky nod to Avenue Q- little Easter eggs that feel like inside jokes for musical lovers.

Grace Theay as Larry, the pianist, provides understated brilliance from behind the keyboard, keeping the show moving with so much talent on that instrument! I really enjoyed her cameos, and the audience clearly agreed, giggling every time she managed to get a word in.

The chemistry between the cast members is palpable. They bounce off each other with ease and authenticity, clearly enjoying themselves and each other. That sense of camaraderie, both scripted and real, forms the heart of the piece, because [title of show] is as much about friendship and collaboration as it is about theatre.

Director Karen Leadbetter deserves credit for bringing so much spirit to a bare-bones stage. With just a few chairs and a keyboard, she transforms what could feel very empty into a dynamic, engaging space. The script had a slightly unusual structure for her to work with particularly in the first half, which was more of a string of sketches than a conventional narrative. Unfortunately, at times this made it feel a bit sticky for me, with several moments that felt like it was going to be the end, but this was more the fault of the script itself than Leadbetter, who kept the momentum well otherwise. At 1 hour and 45 minutes with no interval, it’s a marathon, but a surprisingly light-footed one.

Ultimately, [title of show] is a celebration of creativity in all its awkward, glorious, imperfect stages. It’s about the highs and lows of the artistic process, the tension between passion and commercial success, and the unique joy of making something from nothing. This production captured all of that with flair, humour, and heartfelt sincerity.

For an amateur group, this was a notably polished and professional performance. The Crescent Theatre’s [title of show] was vibrant, warm, and thoroughly enjoyable.

[Title of Show] is available to watch at The Crescent until Saturday 17th May.

★★★★