Phenomenal cast, incredible bold production, but underwhelming storyline and songs fail to make this the successor to Six’s crowns
Lucy Moss and Toby Marlow, responsible for the masterpiece of Six, return to the West End with Why Am I So Single? and expectations are justifiably high. Moss also directs this new production, accompanied by Ellen Kane as co-director and choreographer. This highly anticipated show has been generating buzz, particularly among younger audiences, who eagerly gathered in line as we awaited the doors opening. Instagram reels have fuelled excitement for this musical, establishing it as an attractive, modern production, largely appealing to a 18-30s audience.
From the outset, the musical feels proud, queer, and loud — attributes that clearly resonate with its target demographic. It’s approachable, filled with energy, and unquestionably charismatic, but it certainly left me wondering if its relatability will translate into lasting impact.
The show begins with a prologue, introducing us to two friends, Oliver (Jo Foster) and Nancy (Leesa Tulley), writing a musical based on their lives. This setup, while initially interesting, quickly becomes an unnecessary narrative device that the show keeps returning to. Although it introduces the characters well, it slows down the pacing and feels like an indulgent distraction from the core of the story.
Throughout the performance, the show’s energetic charm is undeniable. The characters, particularly Noah Thomas’ Art, are likeable, though Art’s character deserved more development than what was offered. The tap number involving Art was a standout, and he delivered a relatable and enjoyable presence that made audiences wish for more time and depth in his role. His “C U Never” song was one of the rare points where I was left wishing for a reprise and for the soundtrack to be fully available on Spotify.
However, other elements didn’t stick as well. The “Ross and Rachel” song (I got off the plane) started strong but quickly the humour felt overplayed and drawn out, fading from memory soon after, much like other moments in the show. The ensemble, who were flawless and deserved more developed characters than ‘Ensemble’, were used in a quirky immersive way throughout the production which although entertaining was heavily reliant on the West End’s big-budget production, and it’s hard to imagine the same effect being achieved on a smaller stage.
Though the show’s relatability was often its greatest strength, it also proves to be a limitation. Many scenes feel like extended versions of memes or Instagram sketches, particularly the “Meat Market” sequence. The content is recognizable and amusing but lacks freshness, leaving the audience with the sense that they’ve seen it all before on social media. This reliance on cultural familiarity ultimately detracts from the show’s memorability.
Lyrically, the production doesn’t quite measure up to its ambitions. Undoubtedly talented writers, Moss and Marlow haven’t achieved the same impact as with Six where fans know songs off by heart. While there were moments of brilliance usually delivered more by the casts’ talent than the song itself being remarkeable — Jo Foster’s performance, for example, in “Shhh!!!” showcased their vocal talent and magnetic stage presence — the songs overall were not particularly catchy or impactful. Foster’s large, charismatic personality also had the unintended effect of highlighting the underdevelopment of Leesa Tulley’s Nancy, whose character remained comparatively flat. Even the catchiest song, the self-indulgent “Interlude in B Minor,” while entertaining, felt misplaced in the broader narrative and further pointed out areas where the show could have been cut for conciseness.
The show’s structure is perhaps its most significant flaw. At two-and-a-half hours, it feels overly long, with many reprises and unnecessary songs slowing the pace. A one-act version, clocking in at around 90 minutes, would have been much sharper and more engaging. The second act did improve in pacing though the songs felt less polished and developed, but the first act felt meandering and could easily have concluded at its midpoint.
In terms of theme, the musical does provide some thoughtful messages. Its exploration of friendship as the true love in one’s life is heartwarming, and the struggles of dating as a queer person were well-intentioned, though not always effectively conveyed. Unfortunately, the recurring theme of the characters writing their own musical never fully justified its inclusion and often felt like filler.
Ultimately, while this show has its merits — a relatable storyline, funny moments, and some strong performances and Moss and Marlow’s talent is evident – but this longer, more traditional musical doesn’t quite capture the sharp, vibrant energy that made Six so revolutionary. Had they adhered to the shorter, punchier format they’ve proven successful with, the impact would have been far greater.
In its current form, this new musical feels like a casual night of fun that overstays its welcome — a long conversation with a friend that starts strong but meanders into indulgence without leaving much lasting impression. Unfortunately not a worthy successor for Six’s crown but perhaps with this second show out the way, third time will be the charm – I’ll be keeping my eyes peeled.