*/
This appallingly bad-taste, yet hilarious and audacious musical combines sharp wit with heartfelt emotion, exploring themes of faith, friendship and the clash of cultures.
Its writers, Trey Parker and Matt Stone (known for South Park) teamed up with Robert Lopez, co-creator of Avenue Q and composer for Disney’s Frozen, to create a show that spews blasphemy and mocks organised religion with every word – somehow in a riotously funny way.
Set against the backdrop of contemporary America and Uganda, The Book of Mormon follows two young missionaries, Elder Price and Elder Cunningham, who are sent to spread the Mormon faith in a remote village plagued by poverty and war.
The story begins with Price, an ambitious young Mormon who dreams of serving his mission in Orlando but instead finds himself paired with Cunningham, an awkward misfit. Their journey takes them to Uganda, where they encounter villagers grappling with warlord threats, violence and AIDS. As they try to share their faith, they confront their own insecurities and misconceptions about what it means to be a believer in God.
The performances are electrifying. Price is played by Blair Gibson whose vocal prowess shines in numbers like ‘I Believe’, where he navigates the character’s initial confidence and subsequent crisis of faith. His portrayal captures Price’s journey from self-righteousness to vulnerability with remarkable nuance.
I saw standby Robin Simoes da Silva (normally Connor Peirson) playing the bumbling and unpopular Cunningham. Their comedic timing is impeccable, and their ability to oscillate between bumbling awkwardness and unexpected bravery adds depth to their character arc.
The supporting cast deserves commendation; each character is vividly drawn, contributing to the rich tapestry of storytelling. The villagers’ performances are striking – infused with energy and emotion that highlight their struggles while demonstrating their resilience.
The technical elements – set design, costumes, lighting, and sound – work harmoniously to create an immersive experience. Costumes are vibrant and culturally resonant; they reflect the missionaries’ naiveté and the villagers’ struggles. Lighting design enhances emotional beats throughout the performance; warm hues envelop uplifting moments while cooler tones underscore more sombre themes.
But the great thing about this show is the sheer joy it takes in poking fun at institutionalised religion. And the filth. Pure, unashamed filth which has the audience choking with laughter. ‘Hasa Diga Eebowai’ begins as a seemingly lighthearted song about coping with adversity, until the village headman translates the Ugandan phrase for the Mormon missionaries. ‘Baptize Me’ – a song ostensibly about baptism – is a thinly veiled number about sex (‘I will baptize her | I’ll douse her in God’s glory | I will baptize her | And I’ll make her beg for more…’).
The Book of Mormon is, quite simply, the funniest show in the West End – if you like unadulterated swearing, sex references and grossly offensive jokes about God. The show recommends parental discretion for children. I’ve seen the show many times over the years, and I introduced my children to it aged 13 or 14 – but others might think that’s too young.
The Book of Mormon is at the Prince of Wales Theatre, currently booking until 26 April 2025, and also on national tour.
As you enter the Adelphi Theatre, you’re transformed back to Hill Valley, California in 1985, with theming throughout the building (including the toilets). As the show starts, with a sudden flash, the iconic DeLorean appears on stage, and you are whisked away on a time-traveling adventure.
Back to the Future: The Musical is a faithful recreation of Robert Zemeckis’s brilliant 1985 film with some fairly awful songs thrown in. The creative team, led by director John Rando and choreographer Chris Bailey, has crafted a spectacle that infuses the original film with fresh energy. It taps into our collective nostalgia while addressing themes that resonate deeply in today’s world – family dynamics, the consequences of choices and the importance of seizing the moment.
In the highly unlikely event you don’t know, the story follows Marty McFly, a teenager who finds himself inadvertently transported back to 1955 after an experiment with his eccentric friend Doc Brown’s time machine – a modified DeLorean. In this past world, Marty must navigate high school life while ensuring his parents meet and fall in love; otherwise, he risks erasing his own existence. The narrative unfolds with humour and heart as Marty encounters younger versions of his parents and sees firsthand the world his parents inhabited – a time filled with its own challenges and charm.
At the heart of this production are its performances, which breathe life into Zemeckis’s beloved characters. Vasco Emauz shines as Marty, embodying youthful exuberance and vulnerability. The brilliant Cory English as Doc Brown delivers an eccentric, endearing portrayal that balances manic energy with moments of genuine warmth. Their interactions are filled with perfect comedic timing.
There are moments when the relentless pace can overshadow character development. While many scenes are visually stunning, some leave you yearning for deeper exploration of emotional arcs – particularly in Marty’s relationship with his parents.
The costumes are great (if you like that sort of thing): Marty’s iconic denim jacket contrasts sharply with Lorraine’s pastel dresses from the ’50s, visually representing their differing worlds. Sound design immerses you in this world; from the whirring of time travel to nostalgic pop hits from both eras, it enhances every moment without overwhelming dialogue or song.
But as mentioned above, the huge problem with this show is the music. The tunes are unmemorable, the lyrics verge on the downright silly (one song largely consists of Doc Brown singing ‘It Works! It Works! It Works! It Works!’ over and over again, when he arrives from a few minutes in the past at the beginning of the show). There are exceptions, such as ‘My Myopia’ when George McFly is bemoaning his lack of physical charms while spying on Lorraine Baines from a tree. But for the most part, you’ll be sitting thinking: ‘This should have been a play, not a musical.’
Yet the show is worth seeing for one thing. The time travel scenes. The West End has three shows with special effects which make your jaw drop, of which this is one (Stranger Things and Harry Potter are the other two, since you asked). The brilliant projections and lighting genuinely create a sense of urgent movement through time. The race to reach 88mph while Doc Brown is trying reconnect a broken cable at the top of the clock tower has mind-blowing visuals of a like rarely seen on stage. It’s fantastic. I can’t believe the show won ‘Best Musical’ in 2022 (which it did) for its score; it’s the special effects – and the sheer fun – that make this show almost, but not quite, great.
As you leave Hill Valley behind at the end of the evening, you’ll remember the key message of the show: never stop dreaming. But you won’t remember the songs.
Back To The Future: The Musical is playing at the Adelphi Theatre, currently booking until 27 July 2025.
Daniel Barnett practises from Outer Temple Chambers and presents the legal hour on LBC radio.
This appallingly bad-taste, yet hilarious and audacious musical combines sharp wit with heartfelt emotion, exploring themes of faith, friendship and the clash of cultures.
Its writers, Trey Parker and Matt Stone (known for South Park) teamed up with Robert Lopez, co-creator of Avenue Q and composer for Disney’s Frozen, to create a show that spews blasphemy and mocks organised religion with every word – somehow in a riotously funny way.
Set against the backdrop of contemporary America and Uganda, The Book of Mormon follows two young missionaries, Elder Price and Elder Cunningham, who are sent to spread the Mormon faith in a remote village plagued by poverty and war.
The story begins with Price, an ambitious young Mormon who dreams of serving his mission in Orlando but instead finds himself paired with Cunningham, an awkward misfit. Their journey takes them to Uganda, where they encounter villagers grappling with warlord threats, violence and AIDS. As they try to share their faith, they confront their own insecurities and misconceptions about what it means to be a believer in God.
The performances are electrifying. Price is played by Blair Gibson whose vocal prowess shines in numbers like ‘I Believe’, where he navigates the character’s initial confidence and subsequent crisis of faith. His portrayal captures Price’s journey from self-righteousness to vulnerability with remarkable nuance.
I saw standby Robin Simoes da Silva (normally Connor Peirson) playing the bumbling and unpopular Cunningham. Their comedic timing is impeccable, and their ability to oscillate between bumbling awkwardness and unexpected bravery adds depth to their character arc.
The supporting cast deserves commendation; each character is vividly drawn, contributing to the rich tapestry of storytelling. The villagers’ performances are striking – infused with energy and emotion that highlight their struggles while demonstrating their resilience.
The technical elements – set design, costumes, lighting, and sound – work harmoniously to create an immersive experience. Costumes are vibrant and culturally resonant; they reflect the missionaries’ naiveté and the villagers’ struggles. Lighting design enhances emotional beats throughout the performance; warm hues envelop uplifting moments while cooler tones underscore more sombre themes.
But the great thing about this show is the sheer joy it takes in poking fun at institutionalised religion. And the filth. Pure, unashamed filth which has the audience choking with laughter. ‘Hasa Diga Eebowai’ begins as a seemingly lighthearted song about coping with adversity, until the village headman translates the Ugandan phrase for the Mormon missionaries. ‘Baptize Me’ – a song ostensibly about baptism – is a thinly veiled number about sex (‘I will baptize her | I’ll douse her in God’s glory | I will baptize her | And I’ll make her beg for more…’).
The Book of Mormon is, quite simply, the funniest show in the West End – if you like unadulterated swearing, sex references and grossly offensive jokes about God. The show recommends parental discretion for children. I’ve seen the show many times over the years, and I introduced my children to it aged 13 or 14 – but others might think that’s too young.
The Book of Mormon is at the Prince of Wales Theatre, currently booking until 26 April 2025, and also on national tour.
As you enter the Adelphi Theatre, you’re transformed back to Hill Valley, California in 1985, with theming throughout the building (including the toilets). As the show starts, with a sudden flash, the iconic DeLorean appears on stage, and you are whisked away on a time-traveling adventure.
Back to the Future: The Musical is a faithful recreation of Robert Zemeckis’s brilliant 1985 film with some fairly awful songs thrown in. The creative team, led by director John Rando and choreographer Chris Bailey, has crafted a spectacle that infuses the original film with fresh energy. It taps into our collective nostalgia while addressing themes that resonate deeply in today’s world – family dynamics, the consequences of choices and the importance of seizing the moment.
In the highly unlikely event you don’t know, the story follows Marty McFly, a teenager who finds himself inadvertently transported back to 1955 after an experiment with his eccentric friend Doc Brown’s time machine – a modified DeLorean. In this past world, Marty must navigate high school life while ensuring his parents meet and fall in love; otherwise, he risks erasing his own existence. The narrative unfolds with humour and heart as Marty encounters younger versions of his parents and sees firsthand the world his parents inhabited – a time filled with its own challenges and charm.
At the heart of this production are its performances, which breathe life into Zemeckis’s beloved characters. Vasco Emauz shines as Marty, embodying youthful exuberance and vulnerability. The brilliant Cory English as Doc Brown delivers an eccentric, endearing portrayal that balances manic energy with moments of genuine warmth. Their interactions are filled with perfect comedic timing.
There are moments when the relentless pace can overshadow character development. While many scenes are visually stunning, some leave you yearning for deeper exploration of emotional arcs – particularly in Marty’s relationship with his parents.
The costumes are great (if you like that sort of thing): Marty’s iconic denim jacket contrasts sharply with Lorraine’s pastel dresses from the ’50s, visually representing their differing worlds. Sound design immerses you in this world; from the whirring of time travel to nostalgic pop hits from both eras, it enhances every moment without overwhelming dialogue or song.
But as mentioned above, the huge problem with this show is the music. The tunes are unmemorable, the lyrics verge on the downright silly (one song largely consists of Doc Brown singing ‘It Works! It Works! It Works! It Works!’ over and over again, when he arrives from a few minutes in the past at the beginning of the show). There are exceptions, such as ‘My Myopia’ when George McFly is bemoaning his lack of physical charms while spying on Lorraine Baines from a tree. But for the most part, you’ll be sitting thinking: ‘This should have been a play, not a musical.’
Yet the show is worth seeing for one thing. The time travel scenes. The West End has three shows with special effects which make your jaw drop, of which this is one (Stranger Things and Harry Potter are the other two, since you asked). The brilliant projections and lighting genuinely create a sense of urgent movement through time. The race to reach 88mph while Doc Brown is trying reconnect a broken cable at the top of the clock tower has mind-blowing visuals of a like rarely seen on stage. It’s fantastic. I can’t believe the show won ‘Best Musical’ in 2022 (which it did) for its score; it’s the special effects – and the sheer fun – that make this show almost, but not quite, great.
As you leave Hill Valley behind at the end of the evening, you’ll remember the key message of the show: never stop dreaming. But you won’t remember the songs.
Back To The Future: The Musical is playing at the Adelphi Theatre, currently booking until 27 July 2025.
Barbara Mills KC, the new Chair of the Bar, outlines some key themes and priorities
Casey Randall explores what makes AlphaBiolabs the industry leader for court-admissible DNA testing
By Louise Crush of Westgate Wealth Management
A family lawyer has won a £500 donation for her preferred charity, an education centre for women from disadvantaged backgrounds, thanks to drug, alcohol and DNA testing laboratory AlphaBiolabs’ Giving Back campaign
Louise Crush of Westgate Wealth Management highlights some of the ways you can cut your IHT bill
Rachel Davenport breaks down everything you need to know about AlphaBiolabs’ industry-leading laboratory testing services for legal matters
What's it like being a legal trainee at the Crown Prosecution Service? Amy describes what drew her to the role, the skills required and a typical day in the life
Barbara Mills KC wants to raise the profile of the family Bar. She also wants to improve wellbeing and enhance equality, diversity and inclusion in the profession. She talks to Joshua Rozenberg KC (hon) about her plans for the year ahead
Are Birmingham’s Intensive Supervision Courts successfully turning women offenders’ lives around? Chloe Ashley talks to District Judge Michelle Smith
Professor Dominic Regan and Seán Jones KC identify good value bottles across the price spectrum – from festive fizz to reliable reds
Governments who play fast and loose with the law get into real trouble, says the new Attorney General. The Rt Hon Lord Hermer KC talks to Anthony Inglese CB about what drew this boy from Cardiff to the Bar, bringing the barrister ethos to the front bench, and how he will be measuring success
