The almost box-like performance area at the Landor pub theatre calls for extremely tight and versatile movement (full marks for director/choreographer Mykal Rand) and an innovative set design. Strong musical support comes from a funky band, led by musical director Alex Parker, which unflappably powers through a stellar total of no less than 40 songs in two hours (with interval). Indeed, the boundless energy from everyone involved is what keeps this joint a’jumpin as we are taken on a musical journey ranging from sixties power ballads I Keep Forgettin’ to sexy boy group song banter Jailhouse Rock and finally, full on gospel-like company mantras Saved. Personal acting journeys are clearly etched out for each of the numbers, often effortlessly continuing into the next segment, enhancing a pop score with an effective theatrical edge.

Unfortunately, the production is slight let down by an imbalance of sound. Despite the cosy size of the stage, some cast members have unexpected vocal projection and diction trouble. I found it difficult to understand the words to some of the softer female ballads, while others misjudged the space to the other extreme and simply belted out at their hearts content at the same continuous and rather piercing level. Indeed, the style of the score requires this to a point, but a subtler approach would sometimes have been more suitable. The weak story through-line and constant introduction of new characters also makes it difficult to form relationships with the audience and in the end we simply don’t really care as much as we maybe could.   

A committed cast gives their all, physically and emotionally. The boy group format works to a t and disco diva Kym Mazelle is a true star as she leads the company as a Soul tour de force a la Aretha Franklin. Stephanie Fearon is easy on the eye and a committed ensemble member; however she doesn’t supply the leading lady talent her top billing of BBC’s recent Over the Rainbow fame suggests. Sullen dark beauty Philippa Stefani on the other hand commands attention with her mesmerising saucy Shimmie dance moves, and her rendition in the second act of Pearl’s a Singer, shows that she can also truly deliver a song. Edward Barnwa has a chocolate-like vocal quality that works best in the romantic duets while newcomer Marc Akinfolarin adds a wonderful bass quality to the group. Miguel Angel nearly steals the show as Sammy David Junior reincarnated, putting the term ‘triple threat’ in the shade, as he tackles drama, comedy, Shirley Bassey’s anthem I Who Have Nothing, boyish wordy patter songs and even acrobatics with startling ease. It’s not a surprise to read he originally hails from Broadway.     

All in all, this assortment of doo wop tunes is executed in a classy, authentic and contagious manner. Well worth a visit for those who are fans of the genre.