A Showchoir Triumph with a Few Technical Stumbles
Edinburgh University Showchoir’s latest production, Down the Hatch, is a refreshing departure from the traditional concert-style format often associated with showchoir performances. Rather than a simple showcase of songs, this production crafts an immersive and fully staged experience, transporting the audience into a lively yet slightly rundown tavern teeming with colorful characters.
The setting is classic tavern fare—a melting pot of oddball personalities, including the brooding soldier, the seductive dancer, the charismatic bard, and the perpetually inebriated regular. At the heart of the story is the Master of the House, struggling to keep his family’s livelihood afloat against the looming threat of a ruthless businessman eager to take over the bar. It’s a well-worn premise, but in the hands of this talented cast and creative team, it’s brought to life with energy, humor, and genuine heart.
The music selection is a standout element of the show, consisting of well-known musical theatre and popular hits, each cleverly chosen to develop individual characters and push the story forward. Given the challenge of conveying full character arcs in just a few minutes per song, the creative team did an excellent job curating numbers that felt purposeful rather than just performative. While one or two numbers felt slightly forced into the narrative, the majority worked seamlessly, creating a story the audience could truly invest in.
A major strength of Down the Hatch is its dynamic choreography, which played a crucial role in preventing the show from becoming static. A highlight was the breathtaking Act One finale— Tango Roxanne from Moulin Rouge—featuring a stunning and intense tango performance by Ewan Robertson and Elham Khosravipour. Their electrifying chemistry and technical precision made for a showstopping moment that brought the house down.
Vocally, the cast delivered an impressive range of styles, from soaring belts to delicate, lilting melodies and bold, bawdy baritones. However, the production was let down by some unfortunate technical issues. The microphone balancing seemed off, leaving many performers sounding muted, as if they were being heard through a pane of glass rather than in a live theatre setting. This imbalance was particularly frustrating during full ensemble numbers, where harmonies struggled to cut through, making it sound as though only a fraction of the cast were singing—a real shame given the evident vocal talent onstage.
Despite these sound issues, Down the Hatch was an ambitious and thoroughly enjoyable production, proving that Edinburgh University Showchoir is not content with simply following the standard showchoir formula. With their creativity, talent, and clear passion for performance, this is definitely a company to watch. And judging by the standout performances from this cast, I have no doubt that many of these young performers could be gracing professional stages in the future.