This unstoppable ska musical, which relocates the battle of the sexes comedy from Love’s Labour’s Lost to the Windrush-era Britain, made its debut on this theatre’s stage before transferring to the West End.
The show by Paul Sirett and Tameka Empson is back with its highly contagious songs, exuberant energy, and outstanding performances, riding on its comedic appeal even when the narrative appears to lose momentum and then fizzle out.
Ferdy (played by Ashley Samuels), Bernie (portrayed by Nathanael Campbell), Dennis (enacted by Khalid Daley), and Lennie (brought to life by Karl Queensborough) have departed their Caribbean homelands for the “mother country” – a post-World War II Britain that their compatriots have fought for, and that they are now ready to help rebuild. They arrive with grand aspirations and to bolster their ascent, they pledge to abstain from all romantic entanglements for the next three years with their partners – Sybil (performed by Gabrielle Brooks), Mary (enacted by Leanne Henlon), Zulieka (portrayed by Rachel John), and Kathy (brought to life by Juliet Agnes).
The music by Paul Joseph is incredibly catchy, from the optimistic In Inglan, where the men envision their new, promising life even before their ship docks, to the confrontational Better Than You, sung as a collective of men versus women, and the alluring Ain’t Nothing Hotter. It’s nearly impossible not to tap your foot along, and the ensemble, each member as talented as the next, harmonizes beautifully as a group.
Directed by Tinuke Craig, the production exudes warmth, vitality, and physical comedy. The show maintains its cheery disposition even in moments when the characters – who are engineers, university graduates, and aspiring academics – are compelled to take on menial jobs to make ends meet. The racial animosity faced by the Windrush generation is evident, yet its impact is not always deeply felt. The production seems deliberately upbeat, using radical Black joy to counteract the pain.
While the Windrush scandal is referenced, as is the infamous notice “”, some parts come off as overly theatrical, although they fit well within the episodic and occasionally farcical nature of the piece.
The characters gather in their communal boarding house or at Piccadilly Circus (with set design by Jasmine Swan), the latter brought to life by a vintage billboard and a humorously flimsy statue of Eros, where the romantic drama unfolds.
Empson reprises her role as Mrs. Aphrodite, providing commentary between scenes from a balcony. She exudes charm and delivers light-hearted jokes, but when she descends to the stage, it verges on transforming into a stand-up routine, particularly towards the end of the first half when the vibe is celebratory but the plot slows down.
Perhaps that’s the essence of this production: it prioritizes fun and entertainment, remaining endearing until the final curtain. Despite its lengthy three-hour runtime, it may feel a bit bloated, yet it’s challenging to fault its generous and heartfelt approach.