The timing could not have been more perfect for this opening night performance by the immensely talented company of Salt & Pepper Productions. Less than 24 hours after the denouement of series 16 of the iconic baking contest, we were treated to this tasty morsel — a delightful love letter to the TV institution that is Bake Off.
The show follows an entire series in the tent, charting the trials, tribulations, treachery, and triumphs of eight hopeful bakers. The characters are all instantly recognisable from series past, celebrating the rich tapestry of British idiosyncrasies: Izzy, an overachiever with cut-throat ambition (Laura Johnson); Dezza, a vegan hipster (Matt Austin); Russell, a delightfully flamboyant and outrageously camp old luvvie (Stuart Dutton); Babs, a brassy granny enjoying the prime of her life (Suzie Lowe); Hassan, a plucky young émigré from a war-torn land (Billy Clarke); and Francesca, a charming yet quirky primary teacher trying for a family (Laura Cain). Our two protagonists are Ben, a widowed police officer and father to a young daughter, Lilly — who submitted an application on his behalf (Sam Salisbury and Daisy Foden) — and Gemma, a young woman from Blackpool who spent all her time caring for her late mother (Paige Grindrod).
The wonderfully observed show tugs on all the same heartstrings as the real contest, and I was instantly invested in every one of their stories. Of course, no series would be complete without the hosts, Jim and Kim (Michael Corteen and Lucy Page), and the judges, Phil and Pam (Debbie Allen and Joe Clarke), who bear more than a passing resemblance to a certain famous judging duo familiar to fans of the show.
The show itself is completely irresistible. It taps into every endorphin receptor and wraps you up in a big cosy blanket, hands you a mug of milky tea (with a couple of homemade biccies on the side), and encourages you to just sit back, relax, and enjoy a jolly lovely time. Like home-baked goods, though, this show will have a limited shelf life. It isn’t a grand, epic masterpiece to be passed down through the ages — and that’s part of its charm. It feels like an extra-special treat to enjoy it now, fresh out of the oven, before some of its references and gentle parody inevitably go stale with time.
The production looked immaculate. The staging was pristine and perfectly in keeping with the feel of its TV counterpart. Artistic Director and Choreographer Joanna Milbourne-Chatt and Director Helen Mayne did a superb job of lovingly recreating the Bake Off world on stage. Hats off to the set and prop designers (Gallery Players) and the Costume Department, whose attention to detail and use of bright, vibrant colours cooked up a feast for the eyes. The vibrancy of the costumes and set was matched — and enhanced — by gorgeous lighting design (Ian Wiper and Helen Mayne), incorporating clever LED frames that beautifully complemented the onstage action.
Not only did it look delicious, but the show also flowed seamlessly, aided enormously by the large ensemble cast, who played the various runners and TV crew to keep the action moving. The whole backstage sideshow was cleverly handled — unobtrusive yet layered, adding texture and cohesion to the overall production.
Music was provided by MD Michael Scott, who led a six-piece band secreted away in the gallery. It’s always a treat to hear live music, and Michael did a splendid job supporting a cast of talented vocalists. The choreography ranged from full-scale tap routines to Gemma and Ben’s Petits-Fours foxtrot, but the synchronised baking routines were particularly impressive — tightly performed and visually captivating.
This was such a strong ensemble piece that it almost feels unfair to single out individual performances. One of the production’s real triumphs was the consistently high standard of acting from every cast member. Each character was beautifully drawn and utterly believable — an aspect often overlooked in musical theatre. That said, there were some standout moments worth special mention. Laura Cain’s rendition of the tear-jerking ballad Grow was breathtaking, and Suzie Lowe’s gutsy performance of Babs’ Lament was a joy. Debbie Allen brought impish charm as the irrepressible Pam and was as bright as her blouses. Billy Clarke’s portrayal of cheeky youngster Hassan lit up the stage every time he appeared and suggests a bright future ahead for this young man. I was completely invested in Gemma and Ben’s relationship — a testament to the warmth and subtlety of Paige Grindrod and Sam Salisbury’s performances. Paige’s vocals in the anthemic Rise were especially uplifting. Finally, Daisy Foden as Lily displayed a maturity well beyond her years and her crystal-clear voice in the tear-jerker, My Dad, was simply beautiful.
The production wasn’t flawless, but it’s best viewed more like the showstopper challenge than the technical bake. On that basis, minor imperfections are easily forgiven when you savour the creation as a whole — and by that measure, this show was certainly worthy of the title Star Baker. Well done to everyone involved — big hugs, big hugs.
The Great British Bake Off Musical runs until Sat 8th November 2025 at the Grange Theatre (7.30pm nightly with a matinee performance at 2pm on Saturday), limited tickets are available at https://www.thegrangetheatre.com/thegreatbritishbakeoffmusical
Reviewer: Dan Grimes
Reviewed: 5th November 2025
North West End UK Rating: