We take a look at what is being said about the cabaret inspired musical, starring Ben Platt.
Broadway World: “Still, the fictional concert staging is a unique, attractive conceit, that implies a reckoning with how we remember the past, particularly when we’re doing so in front of an audience. A structural rebalancing might be needed to take these themes to their full conclusion, but as it stands this is far more than a mere showcase for Ben Platt.”
The Guardian: “As darkness seeps into the story, we start to make sense of our narrator’s gaps in time and memory. Director David Cromer (The Fear of 13) retains the show’s intimacy by keeping things simple, with a minor magic trick – worth keeping secret – wrapping up the story’s loose threads, though the gut-punch would hit even harder with a trim. Midnight at the Never Get sees music as both heartbreak and cure. With one eye on who’s about to walk in through the door, it reveals what love leaves you with when all else is lost: songs to sing at the top of your lungs to the memory of who you used to be.”
Everything Theatre: “Midnight at The Never Get proves to be a beautifully crafted piece of musical storytelling which is warm, witty and quietly powerful. Its intimate setting, the performances and music allow every emotion to land with clarity. Although the story and characters are fictional, the strength of Sonnenblick’s writing gives the piece an air of authenticity, leading to reflection on how many artists of the era were forced to choose between artistic integrity and commercial success.”
WhatsOnStage: “It’s above all a superb showcase for Platt’s musical talents, that trembling falsetto, so familiar from Dear Evan Hansen, put to plentiful use in songs that may lack a standout earworm but certainly tell the story with style. He also shows his mastery of whimsy and comedy, notably in the number “Boy in Blue”, about a romance with a police officer (“I won’t forget his number, it’s 911”), riffing on the fact homosexuality was illegal at the time. At one point, the (excellent) band is briefly unveiled on the side stage as the pair dance gracefully around the audience, Lynne Page’s choreography calling to mind the golden age of Astaire and Kelly.”
All That Dazzles: “One of my favourite things about theatre is its ability to surprise me. I always enjoy a show that does something I’ve never seen before, and Midnight at the Never Get does just that. Its fusion of cabaret and theatre creates a rather distinct production, but it is the way the story unfolds in such a natural way that also surprises, leading to a show that will easily get you in the feels as well as transporting you to another time and place entirely in one of the best uses of immersion I have ever experienced.”
London Theatre.co.uk: “The draw for Midnight at the Never Get will inevitably be Platt, but there is more to this small gem of a show. Tender, funny, and thoughtful — the Menier has done it again.”
The Standard: “Cromer’s 100-minute staging sags a little before the end but taken as a song cycle describing the arc of a relationship against an evocative urban backdrop, it’s great fun. As I said, the band, with a drummer and bassist behind the main duo and a brass section concealed behind glass, is fabulous. And it turns out the Menier, a superb theatre, also makes a splendidly seedy, old-school nightclub.”
Theatre & Tonic: ” Overall, I think “Midnight at the Never Get” is a stunning piece of theatre that is as relevant as ever in 2026 due to the rise in anti-LGBT+ rhetoric. It has great music and performances and is guaranteed to leave a lasting impact.”
The Reviews Hub: “Despite taking place in a context of deeply entrenched homophobia, legal threats and, later, riots in the city, these events feel muted and distant while the spiralling love affair never supplies enough jeopardy to carry a show that becomes overly repetitive and insubstantial. The audience learns little about Trevor and Arthur beyond their jobs and their sexuality, so when Sonnenblick asks the viewer to feel for this couple, it is Arthur’s story that should be more interesting, a man who changes himself and seems to compromise his art in order to be revered. And there should be far more to say about the consuming nature of creation, the desire to “leave something in the world” than Midnight at the Never Get has time for. The man who gets left behind and his broken heart just aren’t that interesting.”
Radio Times: “I truly, wholeheartedly believe that I have seen something that can and should fundamentally shape the next stage of West End theatre. Something that subtle, that artfully layered and that affecting cannot be wasted.”
To book tickets visit: https://www.menierchocolatefactory.com/tickets/midnight-at-the-never-get/