Review: The Choir of Man (Touring)

Tuesday 30th June 2026 at the Grand Theatre and Opera House, York

⭐️⭐️⭐️⭐️⭐️

From creators Nic Doodson and Andrew Kay comes a music-lover’s haven: The Choir of Man. Set in a classic pub where regular guys meet and shoot the breeze, nine blokes sing their way through a brilliant catalogue of hits – tear-jerkers and crowd-pleasing bops included. It’s a show full of joy and escapism which is sure to leave audiences happier than it found them.

It’s not exactly a brilliant “story” as such, but it’s a dynamic that definitely works; there’s no real sense of in-depth dialogue or progressive action, just snippets of narration giving heart-felt or sassy background on the characters (monologues writer: Ben Norris), some strong audience rapport and plenty of singing. Doodson also directs and takes sweet time over the small moments – those shared looks of understanding or sardonic wit are the cornerstones of the characters. We don’t get to hear much detail, but we do get to sit amidst the general vibe of the place (a classic, ambient backdrop thanks to scenic design from Oli Townsend) and enjoy the snapshots of their individual personalities. 

The cast? Fab. Rob Godfrey is Beast – a cracking guitarist with a mischievous glint at all times, Joshua Lloyd is the Barman, with surprising moves up his sleeve and a bold, charming approach to audiences, and Ben Mabberley is Joker – the first of a number of inaptly named sorts, bringing some gorgeous vocals in higher octaves. Aaron Pottenger is the Bore – also poorly named – with his soaring vocals making him anything but. Levi Tyrell Johnson is the Hard Man, who does precisely nothing hard or tough, but offers a dominating presence and some nice moments of humour playing on this rep, while Oluwalonimi Owoyemi is heart-felt and passionate as the Poet, giving lyrical tributes to each member of the punting family. 

Sam Walter gives Adele a run for her money as the brooding Romantic and Jack Skelton brings a whole new layer of impressiveness by adding some very impressive tap sequences. Completing the line-up is Gustav Melbardis as Maestro – perhaps the most charismatic of all, offering phenomenal talent on the piano, brilliant audience rapport and a general sense of tongue-in-cheek fun.

Music is of course the heart and soul of this piece (Musical supervisor, vocal arranger and orchestrator: Jack Blume) and the musical numbers are not only generous but beautifully selected for variety and fun. From “Dance with My Father” and “Hello” to “500 Miles” and “Livin’ on a Prayer” (among many, many others), we run the gamut of emotions through music. And the quirky piano sequence in which one song is put through its paces across a variety of musical genres is a real music-lover’s highlight. Movement and choreography from Freddie Huddleston is also spot on, with plenty of posturing and synchronised or canon movement – most impressive in the fast-paced finale.

It also has to be said that this show is incredibly hopeful and wholesome; in this day and age, to have nine ordinary blokes and not a single nod to toxic traits or damaging stereotypes is a real strength of the show, offering refreshing representation of men on stage, particularly in the realm of drinking and pub settings. The Choir of Man is full of charm and escapism – if you love your music and appreciate the magic of an ordinary welcoming pub, you’ll want to catch this one.

The Choir of Man is at the Grand Theatre and Opera House, York until July 4th 2026 – more information and tickets can be found here.