Theatre Review: Eugenius // West End

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Photo Credit: whatsonstage.com

Eugenius first took the world by storm when it arrived at The Other Palace in 2018, which was followed by a stream of rave reviews and a huge cult following. I was gutted to miss its short stint on the West End, so when I saw that I had the opportunity to see this fun-filled production to raise money for Acting for Others, following the closure of theatres in March, I did not hesitate! So far, the team behind Eugenius have raised £15,600, however their total is steadily increasing.

Overall, the show is a joy to watch: pure, 80s madness, and two hours of sorely-needed, retro escapism. Directed by Ian Talbot, and with music and lyrics by Ben Adams and Chris Wilkins, Eugenius is packed full of pop-culture references, and I can guarantee that once you’ve had a listen, you’ll have the songs stuck in your head for weeks.

Photo Credit: talkstageytome.co.uk

The narrative follows comic-book-obsessed Eugene (Rob Houchen) and his two best friends, Janey (Laura Baldwin) and Ferris (Dan Buckley). Eugene is trying to get his comic, ‘Tough Man’, a Hollywood film adaptation. But not all is as it seems when the world of ‘Tough Man’ begins to edge closer to reality…

Houchen leads the cast perfectly; he captures Eugene’s naive ambition in a stellar vocal performance. As the over-confident (and sometimes cringe-worthy) Ferris, Buckley is a perfect foil to the musical’s introverted lead. Evil Lord Hector- full title always required- is portrayed by Neil McDermott, who is an absolute scene-stealer. A camp and clueless caricature of a comic book villain, he could have stepped straight out of an episode of He-Man. However, the true star of the show is Laura Baldwin as the adorable Janey, who is so much more than Eugene’s love interest. She has agency and independence, a fact that is only highlighted further by Baldwin’s powerful vocals.

Photo Credit: seatplan.com

The show’s simple set design is brought to life with lighting by Andrew Ellis, which captures the mood of every scene. Aaron Renfree’s choreography is also a real highlight of the show; The Other Palace is a small theatre, but his maximalist approach puts this to the show’s advantage. By the end of the show, you’ll be dancing along with the cast!

It’s easy to become distracted when watching theatre from home, but Eugenius certainly grabs your attention. With its bright colours and pop-influenced soundtrack, it’s nearly impossible to look away. Towards the end, I found myself moved not just by the show, but also by the sight of the audience dancing and clapping along to the finale, leading me to conclude that live theatre is irreplaceable. Watching shows via this new, livestream medium takes you back into the theatre (something many of us desperately miss), even if it’s only for a couple of hours. We don’t know what going to the theatre will be like when the country re-opens, but this recording of Eugenius, in capturing the audience as well as the show, offers a much-needed trip to the near past, taking you back not just to the ‘80s, but to a time when we could sit and enjoy a show together.

Words by Orla McAndrew.

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