The High Life – Festival Theatre

After spending the Easter weekend revisiting this quirky TV show, I was ready to immerse myself in the musical adaptation of The High Life, and I’ll admit I went in with a mixture of excitement and scepticism. It is one thing to love something in a nostalgic, half remembered way, and quite another to see it expanded into a full stage show. This feels less like a revival and more like a reunion that has been allowed to get slightly out of hand.

From the outset, the production leans into its own chaos. The opening number arrives with a knowing wink, that familiar theme tune doing a lot of the work in terms of goodwill, but it quickly becomes clear that the show is not content to rely on recognition alone. It understands what made the original work and pushes it further rather than trying to tidy it up.

What surprised me most was how well the musical format suits it. The songs are not just there to fill space or offer a change of pace. They are tightly written, often funny in their own right, and used to build the momentum rather than interrupt it. There is a real sense of pace, even when the plot begins to spiral into something more complicated.

And the plot does spiral. The central idea of Air Scotia facing a corporate takeover is simple enough, but it becomes a vehicle for increasingly surreal detours. A sequence involving the Lower Largo Triangle feels like the point where the show commits to its own logic. It is messy and a bit indulgent, but still fitting. The original series always leaned into the ridiculous, and here that instinct is given more space.

The returning cast are clearly enjoying themselves, which makes a difference. There is an ease to the performances, particularly in the central pairing. Their timing is sharp, their chemistry intact, and they play with the audience just enough to keep everything feeling present rather than overly rehearsed. Siobhan Redmond’s Shona remains a highlight, delivered with a precision that cuts through the surrounding chaos, while Captain Hilary Duff continues to operate on his own strange wavelength.

There is a pantomime influence running through the production, not just in the jokes but in the structure and tone. It invites the audience in and is not afraid to be knowingly daft. At times it borders on too much. Some sections feel overstuffed, and there are jokes that do not quite land. But even then, there is something refreshing about a show that would rather risk excess than play it safe.

Visually, it matches that energy. The design is bold without being overwhelming, and the presence of the band on stage adds to the sense that this is all part of the same world. It has the feel of a cabaret that has been scaled up into a musical.

In the end, what stays with me is the overall tone. It is affectionate without being overly reverent, chaotic without feeling careless, and funny in a way that builds as it goes. It might not convert anyone who was not already inclined towards its humour, but for those willing to meet it on its own terms, it is an enjoyable and unpredictable journey!

Reviewer: Nazaret Ranea

Reviewed: 7th April 2026

North West End UK Rating: