Alternative Directions’ two-hander comedy musical B*ST*RDS, written by Will Holyhead and Alex James Ellison (FIVER), had its first two performances at The Actors Theatre at the 2024 Brighton Fringe.

The year is 1652. Shakespeare’s suspected illegitimate child, playwright and poet William D’Avenant, played by Harry Hart, is locked in the Tower of London; a political prisoner condemned for the crime of treason for supporting the former royal family. For D’Avenant, release and freedom seems a hopeless dream until one day, he receives an unexpected summons from the most powerful man in the country, Oliver Cromwell, played by Graham MacDuff. Cromwell has a problem that only William can fix, however, we soon come to realise that Cromwell, the only man in British history to ban theatre, might have helped to invent musical theatre…

Holyhead’s script is brilliantly engaging and funny. It perfectly captures an, at first, bitter developing friendship between two people. It manages to lay out the political context of the time without creating a history lesson and shows us the flaws of each character without making them dislikable. Impressive, considering a musical involving a man who bans theatre probably wouldn't be a favourite character to a Fringe Festival audience.

Holyhead and James Ellison’s music is nothing short of fantastic. The musical is filled with catchy, upbeat songs and heartwarming pieces. We must say, when the first four chords began to play on any song, we perked up in our seats, knowing that we were in for another warming, comic musical treat. Choreographer Jamie Jonathan and associate choreographer Georgia Pegg are definitely ones to watch. It's an incredible skill to give an audience a big show number with all the high kicks and jazz hands in a small space with just two cast members. It must be said the song ‘Method to the Madness’ was a favourite; a song we can see many a musical theatre fan humming to themselves as they go about their day. This is also a perfect time to shout out musical director and orchestrator Phil Mitchell. Pun not intended, he never missed a beat and beautifully matched the big show energy with just a piano.

MacDuff’s performance as Cromwell is powerful and honest. His ability to hold a room and assert dominance through stillness and calm is impressive. He perfectly executes the contrast of going from mean villain into the lead of a big fun show number. It's something very refreshing and shows a true talent to hold an audience. It would be a pleasure to see him perform again.

Hart’s performance as William D’Avenant is superb. What a joy he is to see perform! It's a true skill to be so likeable and funny, yet remain relateable and honest. His Act One closing number, ‘If I Could Say Goodbye’, is moving and powerful. Definitely deserving of the rapturous applause from the audience. It's amazing how loud an applause Hart can conjure up from a small fringe audience. When this show ends up in a bigger theatre, we will all need earplugs during his bow.

Holyhead’s directing is cleverly engaging and easy to watch. His choice to have the character just sit and talk for a good portion of the piece leant brilliantly to creating what felt like an honest and open environment. This also made the moment when characters stood up, whether to give us a big show number or reinforce us in their passion for what they were saying, so much more powerful. This is a directing choice of Holyhead that we think could find a good place in British theatre.

B*ST*RDS is definitely a show worth seeing. It's always interesting to see how a story pans out with a one hour first act and 30 minute second act. Whilst this leant itself well to the story, we do wish the second act was slightly longer. We can only imagine the hilarious moments and the process of the character D’Avenant writing the opera. There are also times during the first act when the pace of development in the story changes slightly. Perhaps with a longer second act or a shorter first act, the points in the story could have felt more evenly placed. It's worth saying, we vote for a longer second act.

Like any show at a Fringe, space for a big set and band is always limited. This is an aspect of a show we won't give much light to when reviewing a Fringe piece. It is clear, however, that this musical is ready for a big band, fabulous set and we have no doubt, a big audience ready to see it. Whether you’re a fan of history, comedy or a downright good time, GO AND SEE THIS SHOW! And dare it be said, perhaps we could be seeing the start of a cult classic too.

**** Four stars

Reviewed by: Josiah Eloi