Bare: A Pop Opera – Alba Theatre at Braw Venues @ Hill Street

As part of their stacked lineup of shows for the Edinburgh Fringe, Edinburgh Little Theatre presents Bare: A Pop Opera. Set in Catholic boarding school St Cecilia’s, the musical follows the journey of the school’s pupils as they grapple with the complexities of relationships, sexuality, and faith. At its core is the secret relationship between Jason (played by Josh McPherson) and Peter (played by Callan Paterson). Peter is ready to be open about their love, while Jason wants to keep it hidden—thus sparking the central conflict.

The musical itself is a rollercoaster, complete with surreal and striking moments like Mother Mary appearing in a fever dream as Dolly Parton, simulated sex on stage, and a subplot involving teenage pregnancy. While Bare tackles extremely heavy themes, including teenage suicide, it also dips into high-camp absurdity. This tonal contrast makes it a difficult show to pull off, and unfortunately, this particular production missed the mark.

Given the show’s two-and-a-half-hour run-time with only a five-minute interval, maintaining audience engagement is essential. However, the direction struggled to captivate, adding little flair or originality to the source material. Many musical numbers felt static, almost like a park-and-bark performance. That said, the cast themselves were stellar—bringing power and intensity to their roles—but talented actors can only carry a production so far.

Technical issues also hindered the experience. Most microphones seemed to be off, resulting in critical moments being drowned out by the backing tracks. Ironically, the one microphone that was on belonged to Sister Chantelle, played by Cathleen McClenaghan—and she certainly didn’t need it. McClenaghan is a powerhouse performer, bringing sass, energy, and phenomenal vocals to her role. Her performance offered a much-needed burst of campy, lively energy amid the show’s darker themes.

Another standout was Ashley Garrett as Nadia, Jason’s twin sister. Garrett’s solo numbers were memorable, her sarcastic humour adding depth to the production. She performed with authenticity and relatability, as did McPherson and Paterson, who navigated the emotional material with grace and sincerity. The ensemble also delivered strong support to the principals, blending well in both vocals and chemistry.

Despite the strength of the cast, the staging felt lifeless. Many scenes involved characters simply singing at each other or out into the audience, with limited movement or engagement. The ensemble could have been better utilised to inject more dynamism—though a few dance numbers were included, the overall blocking felt too static. In one notable misstep, the funeral scene featured handheld coloured LEDs. While the song was emotionally stirring, the choice of lighting felt cheap and out of place.

The direction overall lacked vitality, which is admittedly a broad critique, but it’s the small details that often elevate—or detract from—a production. Things like drinking wine with the bottle lid still on or using an unrealistic liquid as a stand-in for drugs gave the piece an amateur feel. The intimacy on stage also felt forced and uncomfortable, especially given the characters are schoolchildren. Rather than adding emotional depth, these moments felt unnecessary and awkward, attempting to emulate Spring Awakening but falling short.

The technical design was simple, which is understandable for a Fringe show, but certain scenes—such as the rave—cried out for more creative lighting. Dimmer lights or a strobe effect could have significantly enhanced the choreography and atmosphere. Ultimately, this cast was let down by their production team. They are clearly a hardworking group with immense potential, each delivering emotional, well-developed performances despite the limitations around them.

There was a clear lack of cohesive vision and tonal clarity from the direction, but the cast held the production together. They deserve to be seen again in future performances, hopefully with a team that can better support their talents and bring out the best in them.

Bare: a Pop Opera runs until the 24th of August at the Alba Theatre at Braw Venues @ Hill Street with tickets available at https://brawvenues.com/

Reviewer: Jessie Martin

Reviewed: 1st August 2025

North West End UK Rating: