A mythological tale for the modern age, Lightning Boy is a bolt of musical joy
NYMT’s Lightning Boy made its world premiere at the Birmingham Hippodrome on Thursday 21st August, reimagining the myth of Zeus as a coming-of-age musical. The show follows 16 year-old Zeus (played by Toby Mocrei) as he works at the Sky High Diner on Mount Olympus and dreams of a life outside the diner – and a life with his human childhood sweetheart, Io (played by Lizzie Wells). Written by Charlie Turner and Liv Warden, it’s a fresh, modernised take on ancient mythology, and from start to finish feels like a neon-soaked mythological remix, swapping scrolls and temples for milkshakes and teenage angst.
The show did hit a small snag early on – a tech hiccup meant a restart partway through the opening number. While it momentarily broke the spell, the young cast handled it with such professionalism that it became a testament to their talent, rather than a detraction. From that point on, everything ran near-seamlessly.
It’s exciting to see a NYMT production because you know that you’re witnessing the early steps of some major careers in the making – but this cast in particularly feel electric. Mocrei leads the show impressively – particularly in the group dance numbers, where he really shines. His Zeus is relatable and endearing, and we have no doubt that we’ll continue to see him on even bigger stages soon.
Joseph Firth’s laid back, flamboyant Poseidon is pure comedic charm, a perfect juxtaposition to Quentin Ballard’s angsty, brooding Hades. Speaking of Hades – wow. His solo number, God Awful, is a thunderous vocal showcase, and one of the show’s most memorable moments.
My personal highlight was Hera’s number, I’ll Be Your Dream, which Amy-Pearl Watt performs beautifully. It’s a gentle, harmony-rich moment of the show that still hasn’t left my head. Watt absolutely nails it, and she was a real standout in the show.
The score is full of earworms, the sort of songs that you immediately want to hear again. As I found myself frantically scrolling through Instagram and Tiktok the next day, hunting for clips, I was reminded of how rare that feeling is – the kind of musical magic that can make someone fall in love with theatre.
All of the group numbers were a consistent high point, packed with sharp choreography and real ensemble cohesion. The Olympians set the bar high with All Hands On Deck in Act 1, and Poseidon leads a high-energy, gleeful number in Come On In (The Waters Fine), filled with charisma and sass. The Act 1 finale, Lightning, is the show-stopper, filled with thunder, lightning and drama.
Lightning Boy never pretends to be your classic Greek tragedy: it’s a joyful, popified spectacular, filled with heart. From the set, to the choreography, to the score – and of course, the outstanding cast – it’s a show that delivers with confidence, charm, and a whole lot of fun. A mythological tale for the modern age, and one I’ll gladly watch again, first chance I get.