This new musical written by Sam Cassidy and Matt Wills follows the story of Orpheus, a rock star whose experiences of fame lead him down a path of self-destruction. But how has it gone down with critics? 

27

A Younger Theatre: “it is simply not interesting enough a take on modern celebrity culture (even the rock music feels dated, frankly). The subjects dealt with are meant sincerely I have no doubt, and addiction and self-destruction deserve to be addressed.”

The Stage: ** Mark Shenton wrote: “they’re marooned in Phillips and Cassidy’s loud and flashy production, which is full of frenzied but meaningless choreography and fatally undermined by a hazy, lazy script.”

The Times: * “a flashy, hectic production of almost heroic vulgarity.”

British Theatre.com: ***** “For a first show, it demonstrates dazzling maturity and skill.”

WhatsOnStage: ** Holly Williams commented that: “when the show goes full camp, utterly pompous rock-opera-in-hell, it has a certain cultish appeal.”

London Theatre.co.uk: *** “There’s certainly a wealth of talent on display from all corners, but this show works too hard at showing the shallow nature of fame and in doing so runs the risk of feeling shallow itself.”

The Upcoming: ***** “27 is not just a big spectacle. There’s real, raw and personal depth to every element that many will be able to relate to. And even those who don’t will still feel touched.”

The Reviews Hub: ** “It’s a great idea for a show and one the cast have clearly put their full energy into but, despite a few nice moments, it burns out long before Jimi does.”

Broadway World: *** “With a little extra snap in the dialogue, less time in the underworld and more time getting to know Jimi and Amy, this bold would-be crowdpleaser could have real potential. As it stands now, it’s a tad predictable and underwritten to succeed fully.”

Musical Theatre Review: ** “There are glimmers of good songs, and the cast includes some of London theatre’s best musical voices. But for people interested in doomed rock stars and mythological mash-ups, there will be more satisfaction from watching the documentary Amy and reading Neil Gaiman’s graphic novel, The Sandman.”

Everything Theatre: **** “Cassidy’s writing is gutsy, fresh and fantastical and I can’t wait to see him continue redefining theatre, no matter how many old-timers protest. Cassidy is making a new kind of theatre, and I’m on board.”

London City Nights: * “27: The Rise of a Falling Star might be the most dispiriting theatrical experience I’ve had in four years of theatre criticism.”

Gay Times: **** “A new musical, depicting the rise of a falling star is emotionally driven and beautifully crafted, leaving you craving so much more. Intimate set design with a masterclass in characterisation makes 27 an unmissable production.”

London Theatre 1: ***** “Engaging, compelling and touching yet punctuated with sparkles of humour in all the right places, 27 has all the makings of a smash hit musical.”

The Gizzle Review: ** “27 seems to suggest that the real-life artists are remembered, celebrated and eulogised because of their deaths rather than their music. It wallows in tragedy and misery whilst ignoring the spectacular talent these artists brought to the world. In the process, it spectacularly misses the point.”

British Theatre Guide: “the show suggests that we, the public, are in part to blame for the tragic 27 Club, that fans relish the excesses of their idols and therefore encourage them, but it also seems to ask for understanding of the pressures that cause addiction and its effect on the friends and family of the addict. That hardly breaks new ground and this simplistic scenario does little to develop the argument.”

Live Theatre UK: ***”There’s not much that’s new in 27. It’s been heard and seen before. However, it presents as a fantastic new concoction”

Jonathan Baz Reviews: ** “27 doesn’t need work, so much as a total re-write. There may well be a beautiful show crying out to be written here, but this ain’t it.”

Carn’s Theatre Passion:**** “a very addictive new musical!”

27 plays at the Cockpit Theatre until the 22nd October. For more information and to book tickets visit: http://thecockpit.org.uk/show/27

 

 

 

 

 

 

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