A silly, filthy and joyfully over the top musical with a banging pop score
Unfortunate: The Untold Story of Ursula the Sea Witch is back at The Lowry this Christmas as part of a five week run, produced by Wildpark Entertainment. After selling out previous seasons, it returns knowing exactly what kind of show it is and who it is for. This is a silly show that does not take itself seriously in the slightest, and that is very much the point.
Written by Robyn Grant and Daniel Foxx, with Grant also directing, the show gleefully rips apart the traditional Disney villain narrative and rebuilds it as something far campier, louder and more chaotic. There is no attempt at subtlety here, and no interest in restraint. It leans fully into excess, absurdity and self awareness, and never pretends it is offering anything deeper than a very good night out.
A huge part of that comes from the music. The original pop score gives the show its backbone, keeping everything moving at pace and providing a constant sense of energy. The songs are bold, catchy and unapologetically theatrical, with big choruses and punchy hooks that land easily. Rather than feeling like filler between punchlines, the musical numbers are where the show really comes alive. They give it structure, momentum and a sense of cohesion that stops it from tipping into total chaos.
The lyrics fully embrace the definitely dirty humour the show is known for. This is crude, rude, very adult comedy, delivered with confidence and no interest in being polite. That said, it rarely feels lazy. The music gives the performers room to play, letting jokes land properly rather than being thrown away, and there is a clear understanding of how to use a song to heighten the silliness rather than undercut it.
Sam Buttery as Ursula is a perfect fit, holding the whole thing together with ease. She is genuinely very funny, with strong comic timing and a real sense of control. Having seen her previously as Divine at HOME, it is clear she excels in roles that celebrate camp authority, and that experience shows here. Vocally solid and completely at ease in the chaos around her, she makes the nonsense feel intentional rather than messy.
The design and movement lean into the same playful excess, supporting the musical numbers without distracting from them. Everything is geared towards fun rather than finesse, and the production is comfortable with being a bit ridiculous.
Unfortunate works because it knows it is silly and never apologises for it. It is loud, filthy, queer and deliberately over the top, but it is also musically strong and confidently put together. If you want festive theatre that prioritises laughs, big pop numbers and not taking itself seriously at all, this absolutely delivers.