REVIEW: THE CHOIR OF MAN | THE LOWRY | 13/10/2026
The Choir of Man at The Lowry – Raising the Bar for Musical Theatre!
Created by Nic Doodson and Andrew Kay, The Choir of Man first premiered at the Edinburgh Festival Fringe in 2017 before becoming an international success, enjoying sell-out performances around the world and an Olivier Award-nominated West End run. Now embarking on its first UK and Ireland tour, The Choir of Man at The Lowry brings its unique combination of live music, outstanding harmonies, energetic choreography, comedy and heartfelt storytelling to Salford, where it is playing from 13 to 17 October 2026.
Directed by Nic Doodson, the production offers something quite different from a traditional musical, inviting audiences to become part of the experience before the performance has even begun. The stage is transformed into The Jungle, a fully functioning pub where audience members are welcome to explore the set, purchase a drink from the bar and mingle with members of the cast. There is no obligation to buy a drink, allowing everyone the opportunity to step onto the stage, take in the surroundings and experience the atmosphere for themselves.
This unusual approach immediately breaks down the traditional barriers between performers and audience, creating a relaxed and welcoming environment. With cast members chatting to visitors and posing for photographs, the spirit of The Jungle is established long before the first musical number begins.
Unlike a traditional musical, The Choir of Man doesn't follow a conventional storyline. Instead, it invites audiences into The Jungle, a local pub where nine men come together to share music, laughter and friendship. Each character represents a familiar pub personality, from the Romantic and the Joker to the Barman, the Hardman and the Bore. Guiding the audience through the evening is the Poet, who introduces the regulars and shares stories that gradually reveal more about their lives and the friendships they have formed.
On the surface, the production is a lively celebration of pub culture, packed with familiar songs, playful humour and plenty of audience participation. However, beneath the entertainment lies a touching exploration of loneliness, vulnerability, mental health and the importance of having somewhere to belong. Through a combination of spoken-word poetry, personal stories and music, the show reminds audiences that everyone faces their own struggles, even when they appear perfectly happy on the outside. It also highlights the importance of community spaces, where people from different backgrounds can come together, form friendships and support one another.
One of the production's greatest strengths is the way it balances these thoughtful moments with its lively musical numbers. The atmosphere can shift from laughter and enthusiastic singalongs to moments of genuine reflection, giving the show considerably more depth than its light-hearted pub setting might initially suggest.
Audience participation plays a significant role throughout the evening. Some lucky audience members are handed beers during the show, while packets of crisps and beer mats are tossed out into the auditorium, adding to the lively pub atmosphere. Several audience members are also invited onto the stage to join in with the action, creating plenty of entertaining and often unpredictable moments. These interactions feel like a natural extension of The Jungle's welcoming environment, making the audience feel less like spectators and more like regulars enjoying an evening at their local pub.
The immersive experience continues during the interval, when audiences are once again invited onto the stage to visit the bar and mingle. Those remaining on stage towards the end of the break are treated to a lively singalong featuring The Wild Rover and Bon Jovi's Livin' on a Prayer, with the audience joining the cast in an enthusiastic celebration of music. It is a wonderfully entertaining moment that perfectly captures the spirit of the production.
The set, designed by Oli Townsend, is one of the production's greatest strengths, transforming the stage into a convincing traditional pub that becomes central to the entire theatrical experience. The Jungle features a wooden bar, tables, stools, a piano and walls decorated with framed pictures and colourful patterned wallpaper. Behind the bar, shelves of bottles stand against a striking backdrop of brightly coloured stained-glass-style panels, creating a vibrant and visually appealing setting. The attention to detail is impressive, with the various decorations and furnishings giving the pub a lived-in quality. Allowing audiences to explore the set before the performance is a particularly effective touch, offering an opportunity to appreciate elements of the design that might otherwise go unnoticed.
The functioning bar is much more than a decorative feature. With drinks being served before the performance and during the interval, it becomes an integral part of the production, helping establish the impression that The Jungle is a genuine gathering place rather than simply a fictional setting.
Richard Dinnen's lighting design complements the scenery beautifully, using warm tones to create the welcoming atmosphere of a traditional pub before introducing vibrant washes of red, blue and purple during the larger musical numbers. More subdued lighting accompanies the reflective moments, drawing attention to the performers and allowing the emotional content of the songs and monologues to take centre stage.
The costumes, designed by Verity Sadler, are deliberately understated, with the performers dressed in everyday clothing including jeans, shirts, T-shirts and jackets. Each outfit reflects the individuality of its character while maintaining the natural appearance of a group of ordinary men enjoying an evening at their local pub.
Freddie Huddleston's choreography is energetic, inventive and frequently humorous, making excellent use of the pub setting and its various furnishings. From dancing on tables and around the bar to incorporating everyday objects into the routines, the choreography transforms familiar pub activities into entertaining musical sequences. The tap dancing provides a particular highlight, while the cleverly coordinated rhythmic movements involving beer tankards demonstrate the precision and skill of the ensemble. The movement often appears deliberately casual and playful, perfectly suiting the relaxed pub atmosphere, yet the level of coordination required is evident throughout. This balance between apparent spontaneity and carefully rehearsed choreography is particularly effective.
Musically, The Choir of Man is exceptional. With musical supervision, vocal arrangements and orchestrations by Jack Blume, the production features an eclectic selection of familiar songs from artists including Queen, Adele, Sia, Paul Simon, Katy Perry, Avicii and Guns N' Roses. Rather than simply recreating the original recordings, the songs are presented through imaginative new arrangements that showcase the cast's vocal abilities and instrumental talents. The harmonies are outstanding, with the nine performers blending their individual voices to create a rich and powerful sound. Whether delivering an energetic rock anthem or a more intimate ballad, the musical performances are consistently impressive, particularly considering the demanding choreography that accompanies many of the numbers.
Several musical sequences also incorporate audience volunteers. During Katy Perry's Teenage Dream, the Beast serenades an audience member in a deliberately playful performance that provides plenty of laughs. Elsewhere, the Bore attempts to build a house of cards with the help of another audience member, adding another amusing moment to the proceedings.
One of the funniest sequences takes place during Escape (The Piña Colada Song), when an audience member is invited onto the stage, presented with a piña colada and seated beside the piano. The Maestro begins serenading them with a deliberately slowed-down, serious rendition of The Proclaimers' I'm Gonna Be (500 Miles), accompanying himself on the piano. However, when he reaches the chorus, the other cast members enthusiastically jump in, singing and bouncing along to the familiar upbeat version of the song. Much to the Maestro's frustration, he has to stop them and explain that they are performing the wrong version, insisting that it is supposed to be an instrumental. He attempts to return to his more restrained performance, but by the following chorus, the rest of the ensemble have taken over, transforming the number into a lively, high-energy singalong. The contrast between the Maestro's increasingly frustrated attempts to maintain his serious performance and the other cast members' enthusiasm makes this a brilliantly funny sequence. It also demonstrates the creativity of the musical arrangements and the excellent comic timing of the performers.
One of the most memorable moments of the opening-night performance came when four local choirs joined the cast for a breathtaking rendition of Sia's Chandelier. The University of Lancashire Chamber Choir, Northwich Musical Theatre Choir, Sing Space Musical Theatre Choir and Valley Aloud Choir participated as part of The Jungle Choir Community Project, bringing an incredible 243 additional voices to the performance.
Positioned throughout the auditorium, with singers standing at the back of the stalls and up in the circle, the choir members surrounded the audience with a remarkable wall of sound. Their voices filled the theatre, transforming Chandelier into an incredibly powerful musical moment. The effect was particularly impressive from the stalls, where some of the singers were positioned directly behind us. Hearing the harmonies coming from different areas of the auditorium created a wonderfully immersive experience and demonstrated the extraordinary impact of so many voices performing together.
The evening concludes with a beautiful A cappella rendition of the traditional folk song The Parting Glass. Following the energetic musical numbers and lively audience participation, this stripped-back finale allows the cast's harmonies to take centre stage, providing a wonderful conclusion to the performance.
The nine-strong ensemble is at the heart of The Choir of Man, delivering an outstanding combination of vocal talent, musicianship, comedy and natural chemistry. At the performance on Tuesday 13 October, the cast featured Sam Walter as the Romantic, Oluwalonimi (Nimi) Owoyemi as the Poet, Jack Skelton as the Handyman, Joshua Lloyd as the Barman, Gustav Melbardis as the Maestro, Niall Woodson as the Hardman, Lewis Dragisic as the Beast, Aaron Pottenger as the Bore and Ben Mabberley as the Joker.
One of the most enjoyable aspects of the production is how convincingly the performers portray a group of friends spending an evening together. Their friendly banter, playful jokes and relaxed interactions feel completely natural, creating the impression that they genuinely enjoy one another's company. This camaraderie is infectious and makes the friendships at the centre of the production entirely believable.
Vocally, the entire cast is exceptional, with all nine performers demonstrating remarkable talent. Rather than one singer standing out above the others, it is the consistently high standard across the whole ensemble that makes the musical performances so impressive. Their voices blend beautifully, with the rich harmonies of the closing a cappella performance providing a particularly striking demonstration of their collective abilities.
Oluwalonimi (Nimi) Owoyemi gives an engaging performance as the Poet, guiding the audience through the evening with his spoken-word narration. His natural delivery brings warmth to the character introductions and helps establish the more thoughtful side of the production without disrupting its lively atmosphere.
Jack Skelton is particularly memorable as the Handyman, with his impressive tap dancing demonstrating both his technical skill and versatility as a performer. Gustav Melbardis is equally entertaining as the Maestro, combining accomplished piano playing and vocals with excellent comic timing. His increasingly frustrated reactions during the 500 Miles sequence are particularly funny, demonstrating his ability to make the most of the production's playful humour.
Lewis Dragisic brings plenty of humour to the Beast, with his playful approach to the Teenage Dream serenade making it one of the evening's funniest audience interactions. Aaron Pottenger also contributes to the comedy as the Bore, particularly during the house-of-cards sequence, with both performers helping maintain the relaxed and entertaining atmosphere of The Jungle.
Sam Walter as the Romantic, Joshua Lloyd as the Barman, Niall Woodson as the Hardman and Ben Mabberley as the Joker complete the talented ensemble, each contributing to the group's musical performances and natural sense of camaraderie.
Although the performers have opportunities to showcase their individual talents, it is their ability to work together that makes the production so successful. Their vocal harmonies, precise musical timing and easy rapport create a wonderfully cohesive ensemble, with each performer contributing to the energy and character of The Jungle.
The Choir of Man at The Lowry is an outstanding production that combines exceptional musical performances, inventive choreography, engaging storytelling and plenty of humour to create a theatrical experience that is both uplifting and surprisingly moving.
Its immersive approach is one of its greatest strengths. By inviting audiences onto the stage to explore The Jungle, meet the performers and take part in the interval singalong, the production creates a sense of involvement that extends far beyond the traditional theatre experience.
The talented nine-strong ensemble delivers consistently impressive performances, with imaginative musical arrangements and beautifully blended harmonies that showcase their remarkable versatility. The addition of 243 local choir members for Chandelier provides another unforgettable highlight, demonstrating the extraordinary impact of voices coming together.
Yet, beneath the lively pub atmosphere and familiar singalong favourites, the production also delivers an important message about friendship, mental health and the value of human connection. It celebrates the spaces where people can come together, share experiences and find support, reminding audiences that even the simplest interactions can make a meaningful difference.
What makes The Choir of Man particularly successful is its ability to balance entertainment with genuine emotion. The humour and high-energy musical numbers create a wonderfully uplifting atmosphere, while the quieter moments ensure that its central message is never lost.
Whether you are a regular theatre-goer or someone who doesn't usually attend musicals, this is a production with broad appeal, offering an evening filled with laughter, exceptional music and plenty of heart.
An uplifting, heartfelt and thoroughly entertaining celebration of music and friendship, The Choir of Man is feel-good theatre at its very best!
The Choir Of Man will be at The Lowry until Saturday 17th October 2026. Tickets are available using the link below.
For more information about the production, including tour dates and show details, visit the official website below.
Photo Credit - Mark Senior
*Our tickets for this show were kindly gifted in exchange for an honest review.
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