The Mad Ones | The Other Palace Studio

Every so often a gem of a show comes along and shifts the way you see the world, and that's exactly what The Mad Ones does. The London premiere takes the musical theatre scene by storm, instantly declaring itself as a must watch musical that soars to new heights. The musical has so much heart that allows audiences to connect to it intimately, yet also boasts these magnificent musical numbers and a story so large, that is shines as a spectacle. All in all, The Mad Ones is a musical that is as close to perfect as one could hope for. 

The musical centres around 18 year old Sam (Dora Gee) who is sat in the front seat of her best friend's car, trying to escape the memories and moments in her past that haunt her, as she struggles to figure out her future and ultimately sacrifices her present. With an intense and overbearing mother Beverly (Thea-Jo Wolfe) pushing her towards an Ivy League college, a sweet and doting boyfriend Adam (Gabriel Hinchliffe) who is a little too nice, and struggling with her own sense of loss and overwhelming grief, Sam fights for her own space and more importantly her own freedom. However, Sam's fixations on her future stem from her avoidance of the past, specifically one traumatic event that altered her life forever. The death of her best friend Kelly (Courtney Stapleton). Unable and unwilling to accept and process this monumental loss, Sam fits the many people in her life as pieces in a larger puzzle, forming a diary-like framing narrative.

The Mad Ones is written by Kait Kerrigan and Bree Lowdermilk, with the duo originally envisioning it as a cast album. The musical numbers are individually strong with several standouts. The musical produces show-stopping tunes back to back, and makes the decision to not allow audience applause to punctuate the flow of the show by quick pacing. Each of the cast members get an incredible solo, sometimes more than one. The duets, particularly between Kelly and Sam are phenomenal with Gee and Stapleton going above and beyond.

Directed by Emily Susanne Lloyd, the musical promises an emotional rollercoaster and a wild ride, and it more than delivers with Kelly's constant presence throughout the musical. As Sam's most trusted confidante, and carefree and fearless best friend, Kelly is quite literally the driving force of most things good in Sam's life, often coaxing her out of her shell. Kelly's free spirit propels Sam's own courage, and lingers as a warm presence yet haunting reminder that she's no longer alive. 

The musical is a coming of age story, yet can be enjoyed and relatable to anyone. Quickly establishing itself as an emotional rollercoaster, the musical chooses to tug on the heart strings whilst providing audiences with warm, animated and loveable characters. In fact, it's often the quieter moments of introspection or hesitations that lead way to the most relatable moments. 

The performers are each sensational and so talented that it's almost ridiculous. The four person cast feel close knit, with relationships feeling authentic and there being natural chemistry between them all. The Mad Ones is by no means an easy show to perform, or to sing, yet the cast make it look fun and effortless, pouring their heart and souls in the piece, which allows it to burst out on stage. 

Thea-Jo Wolfe as Beverly is a true delight, bringing an laughably odd paradox of a character. Having quite literally written the rulebook on driving, Beverly's love for discussing every possible worst outcome, dreadful statistics and general maternal anxiety makes her a painfully strict woman, yet she's lovable even in these moments. Wolfe brings out the depth of love and pride that Beverly carries for Sam with simple affection caresses, softened voices, or nervous fidgets without saying a word. In the second act, Wolfe is given two solos that are astoundingly excellent, with lyrics that not only call out the double standard against gender, but also confront these standards between various generations. The lyrics are moving and profound and Wolfe's vocals do them more than justice. 

Gabriel Hinchliffe is adorkable, as he embodies the kindest soul. Never once pressuring Sam to make a choice, or influencing her in anyway, Adam shines as a safe haven throughout. Often the moments of calm in the chaos occur when Sam is in Adam's arms, as the two experience falling in love and navigating the depth of emotional maturity in a young relationship. Hinchliffe plays the sweet and sensitive Adam well, especially so when he delivers his confession of love, always allowing himself to be open and vulnerable. Hinchliffe also wows the audiences with his massive jaw dropping vocals in the second act, as he finally lets loose and lets emotions sweep him away. However it's his hilarious sexual flirtation using a taco in the first act that may be Hinchliffe's greatest moment as he is entirely committed to the bit. 

Courtney Stapleton as Kelly is a force of nature, the best of the best and just insanely talented. Stapleton shines in the piece, making this already incredible musical even better. Stapleton, who has one of the best voices in the West End, showcases new dimensions and extremes, taking on these enormous songs with ease and killer vocals. Stapleton handles the subdued scenes with dark humour and wit, yet creates a tense and touching sensation when necessary. For all of the moments that Kelly spends laughing in the musical, there are the quiet moments wherein Stapleton's downcast gaze, defeated and hunched posture and quiet shaky voice reminds audiences that Kelly may still be struggling to process her loss as well.

Dora Gee as Sam is divine, bringing out every complicated internal struggle in her performance and allowing audiences to really connect to the character. Gee's performance is remarkable, particularly as she's confronted with tougher moments or as she's breaking down following the dreaded phone call. Gee's vocals are mesmerising and she is given plenty of chances to stun audiences with it, demonstrating a remarkable range. Gee brings out Sam's more reserved and cautious side well, yet it's when Sam really lets loose and decides to live for herself that makes her performance all the more arresting. 

The cast work well as duos, playing off of one another and with electric chemistry. The core theme of the show is friendship and Gee and Stapleton are utterly convincing, it's hard to imagine they've only had a short rehearsal period. The characters clash yet always make up, in rather sweet ways. Gee and Stapleton's voices meld together, creating a heavenly Harmony. 

Despite the small and intimate theatre space, set designer Reuben Speed chooses an ambitious and gorgeous staging that makes for a visual treat. Speed places the front of Kelly's beat up Rusty red car centre stage, with reclining seats and functional headlights, that the characters interact and sit upon frequently. The car itself is well worn with love, weaving in tales of adventure and commotion from Kelly. Speed also creates one of the most stunning set pieces with a fractured black glass mirror wall. This, back wall is a visual symbolism as to Sam's own mental state.

Speed's set is further aided by Joanna Marshall's lighting design, whose flooding of blue lights, whenever Sam thinks of the car accident, is a visual reference to the horrific accident. Marshall's lighting also handles the two sided mirror segments. The lighting is admirable, especially paired with Tom Bedworth's sound design. Bedworth provides a distinctive echoing quality to Kelly, that reminders audiences that she's not alive. The sounds of cars, and the rushing wind helps make it really feel awkward.

The Mad Ones is a love letter to the young, to the free and anyone who hopes to be. It speaks to anyone who has endured a substantial loss, whilst reminding them that the good was worth the bad. The musical, despite leaving audiences sobbing into their sleeves, is uplifting and a little reminder to everyone to call their loved ones, to embrace your little wins, fight for what you want and believe, and to live every second to its fullest.

The Mad Ones is a glorious little musical that contains the biggest of emotions and is just truly a remarkable piece of theatre. 

The Mad Ones is currently playing at the Other Palace until 1st June 2025. 

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★★★★★ (5*)

Gifted tickets in return for an honest review | Photography by Perro Loco Productions