Pop Off, Michelangelo | Underbelly Boulevard Soho

Pop Off, Michelangelo, which is written by Dylan MarcAurele and directed by Joe McNeice, is a fabulous work of art that is endlessly entertaining. The show is unapologetically queer and playful, blending the Renaissance era with today's world. Based on the famous artistic rivalry between Michelangelo and Leonardo da Vinci, the musical takes on a retelling that is quite frankly, a masterpiece in its own right. 

The show reimagines the relationship between Michelangelo (Max Eade) and Leonardo da Vinci (Aidan MacColl), pointedly wiping away decades of hatred with a loving friendship. Raised as brothers from a young age, the two artists become each others pillar of support, especially with the rise in homosexual hangings in Florence, Italy. Determined to be accepted by God for their homosexuality, Michelangelo and Leonardo enroll in "Platonic Academy", an art academy in hopes of meeting the Pope. The two friends, despite being forced to hide their true selves, flourish at the Academy, creating their most famous pieces. However, as tensions grow and the stakes rise, Michelangelo and Leonardo's friendship is tested.

McNeice infuses camp and chaos to the already hilarious script; ensuring that audiences are laughing throughout. MarcAurele paints a sparkling coat of creativity to the story, dropping pop culture references into every other line, and ensuring that beneath all the camp, the script is incredibly witty and clever. 

Conn McGirr covered the role of 'Italian Chef' at this performance and delivered an incredibly energetic performance, with an almost fanatic excitement. Although appearing for only one song, McGirr's performance was so bizarrely brilliant, that the character was sorely missed for the rest of the show. Laura Sillett as Friar Savonarola renders an almost pantomime-like performance of a villian with her monologues. Sillett commits to the bit all the way, with a sharp and flawless performance and powerful vocals, as she puts herself through the oddest of circumstances to expose Michelangelo and Leonardo. 

Michael Marouli as the Pope truly is a God-send, embracing the ridiculously high levels of camp. Ironically emerging as something of a gay icon in the show, Marouli's physical flamboyance is made even better with the use of a vape in hand, and a casino-like office. Kurran Dhand as Salai is a charming and earnest performer. Resembling a hint of seriousness, Dhand's own character journey and relationship is an exciting subplot that adds credibility to the show. Aoife Haakenson as Mother is a stunning addition to the cast. Credited correctly, Haakenson's song towards the show's finale, is one of the musical's strongest songs with incredible vocals and a beautiful blend of being inspirational and moving, whilst also being ridiculous. 

Eade and MacColl as Michelangelo and Leonardo, who have been with the show from its Edinburgh Fringe run in 2024, make the show the hit that it is. Their friendship and brotherhood is evident in their performances, with a chemistry that has the audience invested. MacColl's loud and proud persona is well matched with Eade's quiet confidence, creating an intriguing relationship that just keeps giving. MacColl's dedication to the role is unmatched, as he has the audience in floods of laughter with a simple side eye and a inner strength that has the audience rooting for him. Eade's performance is phenomenal, as is his vocals, particularly in his solo song. Eade effortlessly glides over the hilarious lyrics with sincerity, rendering several moving and heartfelt emotional moments; even when the lyrics are some of the funniest in the show.

Aptly located at the Underbelly Boulevard in Soho, the piece brings joy and pride to the queer community. The show's underlying themes of fear of being queer are still relevant, making MarcAurele's choice to impart love over hatred, and laughter over fear so meaningful. Although the musical is a non-stop joy ride, it does allow for a buzzed reflection after the show, proving to be far more clever than it initially appears. 

The songs are upbeat and catchy, even unexpectedly turning the intimate space into a Cabaret stage as the cast members walk through the audience. The lyrics are witty and silly, although disguised by the music and cast, making every song a new favourite. The songs are given even more of a deadly edge when combined with Sundeep Saini's choreography, that lends itself to some impressive fast paced dance. Ed Lewis (sound designer), uses the space well, re-creating an immersive soundscape that places the audiences right in the centre of the action. 

The set designed by McNeice, Emily Bestow and PJ McEvoy resembles the Renaissance era, with white pillars and greenery strung around the stage, with black and white "marble" flooring. However, the set also features a cloud shaped screen hung overhead, that contextualises the time period, various scene locations, and even works as a memory montage. The use of the cloud screen and pillars gives the show a rather classic look, adding yet another brilliant duality to the camp and very modern show. Adam King (lighting design), uses the light up back walls, the cloud screen (along with McEvoy as video designer), and stage lights to create a dazzling visual show that plays at the fun nature of the show. Bestow also serves as costume designer and the detailing in matching the costume to the character, whilst also becoming a joking matter, is done well, with a special mention of both the Pope and Friar's outfits.

Pop Off, Michelangelo has found itself a beloved niche in new musical theatre, entertaining every audience and bestowing them with a hilarious and fun time at the theatre. Unapologetically queer, littered with pop culture references, witty word play, clever lyrics, and a cast that never fail to stun, Pop Off, Michelangelo is an instant win.

Pop Off, Michelangelo plays at Underbelly Boulevard Soho until 13th July 2025.

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★★★★★ (5*)

Gifted tickets in return for an honest review | Photography by Danny Kaan