Somewhere between a jukebox musical and a club night, “Club Nvrlnd” is an impressive spectacle but lacks a good storyline. Written by Jack Holden, directed by Steven Kunis, and featuring multiple smash hit millennial anthems, the show features a cast of talented performers. However, the immersive style of the show does not work well with the venue, meaning that their performance is often hidden from the majority of the audience.
The show is set twelve years after Peter and Wendy last met. Peter is a nightclub owner who’s about to turn thirty, with MC Tiger hosting Club Nvrlnd and Tink as the DJ. Thomas Grant’s Peter is still refusing to grow up, hiding his receding hairline and dressing as an emo kid. Meanwhile, Wendy decides not to go through with her impending marriage, and staggers drunkenly into the club in her wedding dress. Then nothing much happens for quite a while, as the cast belt their way through hit song after hit song. After about fifty minutes, Hook offers Tink a job in his rival club and a semblance of plot begins to develop. We meet Jad Habchi’s Crocodile, reimagined as a Romanian drug dealer in spiky crocs and a transparent coat, here to make Peter pay up for his fairy dust habit. Matthew Gent shines as Hook, pole dancing whilst clad in leather. It’s campy and ridiculous but somehow works. Lizzie Wofford’s Tink and Martha Kirby as Wendy both sell their solo numbers well, whilst Le Fil is a confident host as MC Tiger.
However, the show lacks a coherent through line, and too often the songs feel shoehorned in, with barely a line of dialogue before another musical number begins. The venue does not lend itself well to immersive performance, with the audience standing in front of a stage. Moving podiums are used to send cast members out into the crowd, but they are barely raised above eye level and are often obscured. At times, characters appear on the balcony or in the bar area, meaning that they are totally hidden from the majority of the audience. This immersive club night concept is not new but has been better executed in previous shows such as “Oscar at the Crown”, which used roving performers on high platforms throughout a tent to allow for a fully inclusive experience. Here, the audience are merely encouraged to sing and dance along, and there are some moments of interaction with torch lights and giant inflatables.
The most impressive thing about this is the audio-visual experience – whilst the set is composed of a simple revolving cupboard with a glittery curtain, there is concert style lighting and plenty of confetti to add a level of pizazz. However, the sound levels are unbalanced at times, meaning that some of the lyrics are lost under the music. Ashley Nottingham’s choreography is fairly simple but effective, and the cast execute it well – special mention to Joel Ekperigin’s Smee for his faultless acrobatics. The costumes are well suited to the period, especially Becky Bassett’s Spice Girl-esque ensemble. This is a fun concept for a musical, but it needs a lot more work to turn it into a fully realised production.
“Club Nvrlnd” runs until 24th August (not 13th or 20th) at Assembly Checkpoint with tickets available at www.assemblyfestival.com
Reviewer: Torya Hughes
Reviewed: 11th August 2025
North West End UK Rating:
Jump aboard as The Bus stops at the Crucible! A Sheffield Theatres Production in association…
The Company brought their production of Federico Garcia Lorca’s Spanish tragedy ‘Blood Wedding’ to Sheffield…
This is a confusing and poorly constructed play. According to the publicity and the programme…
Cyrano De Bergarac is a classic 1897 play by French playwright Edmond Rostand, and has…
Community theatre often faces a challenge that professional theatre rarely has to confront. The desire…
Sinatra The Musical comes to the West End bringing the big band sound and gritty…