Bliss
When I saw the poster for Bliss my first thought was ‘the inevitable SIX rip-off’ but the short Instagram trailer I watched hooked my interest with some solid-sounding tunes so I was keen to see the show for myself. And yes, the comparisons do extend further than the flyer, with the opening number bearing more than a passing nod to the Ex-Wives; however, from that point on it very much becomes its own thing.
In scale, plot and tone, this is much closer to an updated panto than the short, sharp burst of pop energy that found SIX international success. For the most part, it's a great time: funny, colourful and packed with some clever concepts woven into its fairytale framework. Dipping in the pink lake, for example, is a neat metaphor for everything from plastic surgery to the broader idea of simply trying to become someone you're not.
The cast are all excellent, with extremely strong vocal performances across the board. Standouts include the morally dubious Fairy Godfather (Tom Bennett), Prince Devon (Jordan Calloway), extroverted, with a dash of Ginger Spice, Princess Carmella (Alexandra Emmerson-Kirby) and the daffy, animal-loving Princess Holly (Matilda Shapland). Devon's first number is a particular highlight: a ridiculously OTT burst of high-energy boy-band pop dance madness that the audience went mad for.
The plot does feel somewhat predictable and the second half drags a little, but with a cast of seventeen, a live band and some fabulous costumes, there is always something to keep you entertained. A few standout songs deliver the kind of punch suggested by the show's opening number, but the majority of the soundtrack leans towards contemporary, pop-tinged musical theatre rather than the all-out bangers that the poster and those inevitable comparisons to SIX might lead you to expect.
And that comparison is something of a double-edged sword for Bliss: the clear connection they've drawn to Marlow & Moss's runaway success, itself a child of the Edinburgh Fringe, is sure to get bums on seats, but they may also be doing themselves a disservice. Sold as a punchy, modern take on the fairytale panto, with a target demographic of families and anyone looking for a bit of light frivolity, this is sure to go down a storm. But for those coming in expecting that same edginess, bite and irreverent originality, it may leave them wanting. Taken on its own terms, though, there's plenty to enjoy here. It's big, bright, silly and energetic, with a talented cast clearly having a (pun intended) ball with it. Free of expectations, this is huge fun, and well worth your time.
Susan Edelstein Productions, ATG Productions and Gavin Kalin Productions
★★★★
