Precipice | New Diorama Theatre

Precipice, which is co-created by Adam Lenson, Stu Barter, Rachel Bellman, Annabelle Lee Revak, Darren Clark and Shaye Poulton Richards, is a new musical about a dystopian world, following a toxic leak that has caused mass destruction. Directed by Lenson, the musical takes place in one apartment, switching between the present and four hundred years in the future. 

The musical is set in a tower apartment in Greenwich with a stunning view of the River Thames. In the present day, young couple Ash and Emily are moving in, starting what seems to be a happy future together. However, Ash's work in research leads to dangerous consequences turning their lives and the world around them upside down. Four hundred years in the future, a small community have created a sanctuary in the tower, surviving off of limited resources by following the rules and staying away from the outside toxic environment. However, when the power source begins to falter, their promised years dwindles to months, leaving the group panicked. The plots are interwoven, often cutting from one to the other, as the musical explored actions vs consequences. 

Precipice takes on an interesting premise and raises several intriguing questions that makes for a compelling watch. Whilst the storyline can feel a little predictable in the masses of dystopian worlds (several moments would feel right home in the world of the Divergent or Maze Runner novels), especially with the rather vague context, there is still enough stakes for the audience to remain invested in. However the issue is the flipside in Ash and Emily's plotline. On paper, the moral and loyal battles would make for an emotional and arresting narrative; yet neither character earn the battle. Whilst Emily is redeemable only in her aim to do good, Ash's character is downright frustrating and thereby this undercuts the emotional punch of the piece and undermines it as a whole. 

The score, however, comes in strong, with a beautiful blend of songs that really strikes with audiences. Bringing a range of styles together, the music is poetic and really pushes the plot forwards in moving numbers. Whilst there are a few songs that provide unnecessary filler, songs about Monopoly or a flooded Waitrose whilst relevant don't quite feel as authentic, the majority of the score is gorgeous and brings the whole musical together. The lyrics are both clever and poetic, especially in The End of The World is Nigh and Mudlarker, with a finessed storytelling element. There are several songs that become the highlight moments of the show, and are gorgeously crafted.

The set designed by Libby Todd is done well, with a functional flat that also is clearly placed in a dystopian wasteland. With rust, mould edges and an air of abandonment, the flat becomes a survivor of the unforgiving climate. Recycled water tanks are used as walls, reminding audiences that it's been three hundred years of humanity being forced to survive in the tower. The costumes are created from recycled materials, or show their damage from perhaps years of repeated wearing. Ben Jacob's flickering lighting design as well as the plummet into a sudden dark red when the power trips really throws the audience into the deep end as well. The use of warm lighting for happier times is a nice contrast to the dramatic spotlights that are used far too frequently. Mike Thacker (Orbital)'s sound design crackles in the background, creating a creaking continual reminder of the reality of their situation. The use of voice modulation for Biscuits' instruments and own sound system are hilarious. 

The magnitude of the musical unfolds in a compact space and this creates a show that constantly engages with its audience. The musical does at times, however, struggle slightly with the sheer volume of subplots that exist simultaneously in both timelines, leaving one wishing for the extra half an hour of running time. That all being said, the musical still feels exciting, innovative and at the edge of something greater that needs a little more power to raise it higher. 

The cast of five manage to refine the large subject matter and breathe life into the characters with a beautiful chemistry. Isabella Marshall plays Maggie, the current leader of the Tower community. Marshall's initial quiet demeanour slowly slips away during the duration of the musical, allowing for her internal worries to wash over the rest of the cast. Melinda Orengo as Piper brings an earnest performance as the most passionate and caring community member, creating a whirlwind sense of action, urgency and bravery. 

Holly Freeman and Eric Stroud take on dual roles as Emily and Ash as well as other community members, slipping in and out of different timelines with the help of quick jackets or accessories. Stroud is let down by the characterisation of Ash, an infuriating character that makes little to no sense as a person, despite Stroud's best efforts. However, Stroud shines brightly in his own right in his emotional vocal performances. Freeman, likewise, is given a one note character yet manages to create more depth to the role of Emily. Her kind heart and determination to do good creates conflict that Freeman performs well. 

Max Alexander-Taylor as Biscuits cements the musical together. The life and soul of the community, Biscuits' unexpected fate at the end of act one causes the show's biggest moment of emotional impact. Alexander-Taylor's vocals are a gift to one and all, as he pours endless emotions into the songs that underscore many of the other scenes. 

Precipice is an ambitious and engaging musical, yet isn't quite at its full potential. Presented both as a warning to do better, and a documentary of the inevitable fall outs, Precipice leaves a strong impression.

Precipice is currently playing at the New Diorama Theatre until 13th December 2025.

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★★★☆☆ (3*)

Gifted tickets in return for an honest review | Photography by Alex Brenner