Presented by Chevron Theatre

Review by Laurie Kimmett

Space 1 at theSpace on the Mile

In December 2018, the United Kingdom collectively mourned the death of a British institution. Dust was blown off of Alexandra Burke CDs, One Direction posters were kissed anew, and trouser waistbands were raised by at least five inches all in memory of one thing: ITV’s The X Factor. For those not in the know, The X Factor was a singing competition show that brought musicians like Leona Lewis and Little Mix to the public’s attention. Gruelling rounds led to people being sorted into categories – girls, boys, groups, and the dreaded, geriatric “Over 25’s”. Eventually, a winner emerged and was taken under the wing of Simon Cowell. But the best part of The X Factor was always…the queue. A breeding ground for wannabe popstars where alliances were made and broken.

Why has a paragraph of this review been spent on describing The X Factor? Well, because BeetleMania by Lucy Butterworth, Jess Bilsby, and Emily Trease is the closest you can come to experiencing that euphoric Saturday night rush in the 2020’s. Five hopeful young performers queue to audition to be the fifth member of an unnamed band in the 1960s, while two nosy reporters egg on the drama and arguments that ensue. 

BeetleMania is a great musical for the Fringe. Songs worm their way into your ears with their catchy yet simple melodies, and never commit that cardinal sin: carrying on for too long. There is literally no set other than some signs pinned to the wall, yet the stage never feels empty or lacking due to the sheer enthusiasm and larger-than-life characters at play. Costumes are appropriately 60s themed without being caricaturish, and the people onstage are played hammy enough for musical theatre while still leaving you rooting for them.

The writers use stereotypes to the max to pad out their characters, but it works. There’s Maggie, the pushy and self-centred type who is played wonderfully by Jenna Coverdale. She walks the fine line of ensuring you care about Maggie, but can still be hugely annoyed by her. Another stereotype at play is Rita (Erin Brady), the flower power hippy – although she prefers the term ‘free spirit’. With a solo song about her mushroom risotto, she’s endearingly kooky. Brady has one of the strongest voices of the ensemble, both in character and vocals. Lovebirds Jimmy and Pippa (played respectively by William Priestley and Izzy Peter) find each other once again in the queue and after a short dispute about who left who, their reconciliation song is the most beautiful of the score. The final contestant is little Billy, played by Ben Pike. New to the big city and a little nervous, he’s soon taken under Rita’s wing. Pike is initially underestimated but displays his soaring voice to mass applause. 

The story is moved along quickly by our two reporters who are dealing with interpersonal issues of their own. Danny Gordon-Boyd is perfect as the hapless, endearing Jude and has a great sense of comedic timing. Edie Gray is similarly skilled as his co-presenter, Michelle, who is thorny and ambitious but always likeable. 

As singers, the cast take a minute to warm up to their jobs. Most of the lyrics of the first song are lost to volume – either through needing a moment to get into the show, or a slightly-too-loud soundtrack drowning them out. But once they get into the swing of things, BeetleMania is a riotous, bite-sized musical with a sweet ending.

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