Oscar at the Crown follows the story of Oscar Wilde, reimagined in a dystopian futuristic world. This particular night marked the debut of Jan Sport stepping into the role of Wilde, and they delivered an electric performance. From the very start, the energy was high, with sharp, high-octane choreography lighting up the stage.
The atmosphere is immersive from the moment you arrive. Walking down the stairs, you’re greeted with nostalgic clips from 90s TV classic The O.C., setting the tone before you even reach the venue. Entering feels more like stepping into a nightclub than a theatre, with a live DJ, dancers, and an audience swept into the action right away.
The production lays out its “three rules,” encouraging the audience to move freely throughout the performance, following the cast as they weave through the club space on moving carts. The interactive element adds to the thrill, and even if you accidentally find yourself in the way, the performers make it part of the experience.
The music was infectious, with beats that had the whole room dancing alongside the cast. Vocals across the board were strong, but the standout was Elizabeth Chalmers’ solo ballad — a heartfelt plea to leave the dystopian setting. Her crystal-clear tone and stunning whistle note made for a breath-taking moment.
Where the show falters is in its narrative. Despite the energy and immersive staging, the storyline often felt thin and disconnected, more like a string of scenes loosely tied together than a cohesive arc.
That said, Oscar at the Crown is less about plot and more about vibe. It’s a night of bold performances, catchy songs, and an atmosphere that blurs the line between theatre and dance party.
While it may not fully succeed as a story, it absolutely succeeds as a fun, unforgettable night out.
Oscar at the Crown runs until 4th January at the Crown with tickets available at https://oscaratthecrown.com/tickets/#/?month=2026-01
Reviewer: Zain Russell
Reviewed: 19th September 2025
North West End UK Rating:
This was my first trip to The King’s Arms, and this 54-seat black-box venue, nestled…
Nostalgia has become a lucrative commodity. From Take That to Steps, the reunion tour has…
As a child of the early noughties, I remember Julia Donaldson’s The Gruffalo as a…
Part academic presentation, part confessional and part chaotic and confusing cabaret, ‘Pup Play: A Queer…
My friend Eric, an Egyptian Muslim pulled me aside last week. He dragged me out…
Ten Little Soldier Boys are whittled down to none in The Woolton Drama Group’s production…