★★★
Turning a railway safety slogan into a musical might sound like a punchline in itself, but See It. Say It. Sorted. The Musical proves more inventive than its title suggests. Created by Lewis Long with music and lyrics by Eve Edwards and orchestrations by Harry O’Donovan, this new musical from UCL Musical Theatre Society transforms a moment of commuter anxiety into a surprisingly thoughtful, occasionally uneven, but ultimately heart-warming piece.
The premise is clever: an unattended bag is discovered at King’s Cross Station, and the five people standing nearest to it are detained in a waiting room for questioning. Each has their own story, and as the minutes tick by, secrets surface and small confessions slip out. At 75 minutes, it’s a compact setup that sits somewhere between The Breakfast Club and a public service announcement—and indeed, The Breakfast Club is knowingly referenced during the show as the group of strangers are thrown together and forced to confront their inner lives.
Working in its favour, it inhabits a world that’s instantly recognisable. There are some clever set touches: the theatre ticket resembles the famous orange commuter ticket, a digital departures board dangles above the stage, and there’s even the inclusion of the King’s Cross public piano, a small but inspired detail. Staging the production just around the corner from St Pancras gives it an added air of authenticity.
The songs range from bright, comedic ensemble numbers to more introspective ballads. The live band, led by O’Donovan, is excellent throughout, bringing a polished sound to the student production. Two characters, Henry and Sophie, sing touchingly about loved ones they’ve lost, which allows a deeper exploration of the characters beneath the musical’s buoyant surface. Edwards’ score is varied and expressive, and the energy and sincerity of the cast keep things moving briskly.
The performances are uniformly strong, with the six-person ensemble admirably handling the quick tonal shifts between comedy and poignancy. The characters may not all feel fully realised—the short running time doesn’t allow for a great deal of depth—but the actors make them likeable and distinct. Sam, the eccentric outlier of the group, provides much of the comic relief, though the writing sometimes overplays his “weirdo” energy, and his subplot involving lies about the mysterious bag never quite lands—he’d be in a lot more trouble if that was the case! Likewise, the bond that develops between Sam and Sophie could use a little more groundwork to feel believable.
Other dynamics fare better. A husband and wife bickering over her mother offers a quietly funny and unexpectedly tender subplot. Meanwhile, the ticket inspector, a jobsworth prone to accidental insensitivity around his detainees (“I have a habit of saying the wrong thing”), is an endearingly comedic presence, often bridging the gap between the audience and the performers. The breaking of the fourth wall is handled skilfully throughout, drawing viewers into the action and making the piece feel more immediate.
Despite its bright tone, the musical also finds time for reflection. Between the laughs, there are glimpses of grief, loneliness, and the longing for connection—fitting for a story set in one of London’s busiest yet most transient spaces. The show doesn’t quite earn the level of emotional intimacy it’s aiming for, and though we feel like we know these characters by the play’s end, caring deeply about them requires more time and texture—but it’s a commendable effort with a lot of laughs en route.
Ultimately, See It. Say It. Sorted. The Musical succeeds as a lively and sincere debut—a charming six-hander with ambition, strong musical instincts and a clear affection for its characters and the story it wants to tell. It captures the absurd poetry of transportation: strangers thrown together, fleeting connections made and a shared sense of chaos somehow turning into community. It may not have everything perfectly sorted, but it’s brimming with promise.
Words by James Morton
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