The Choir of Man has announced a cast change for its final months at the Arts Theatre in London, with its last performance set for 4 January 2026. So, it's time to offer one more review before we send it on its way.
The magic of the show is its simplicity. Nine guys harmonise their way through tracks by Avicii, Queen, Katy Perry, and Adele. The setting is the pub called THE JUNGLE (which they claim is the best in the world).
Since 2021, the show has been inviting audience members to enjoy a night at the pub. You can walk right up onto the stage and order a pint of beer; you can even sit at a table. There's something special about getting a selfie on stage with the cast members before the show has begun.
There's a warmth, a familiarity, it's your very own local, and the carpets are even slightly sticky as you take your seats.
This Jukebox musical captures how it feels to be a millennial man. We don't like to judge, we learned that it's okay to talk about feelings, and we remember what it was like to have a good time without being constantly plugged into social media. That's what this show is all about, listening and talking to one another.
For me, this was a journey back to the 2010s. At University, I was in an acapella choir singing songs that feature in the show like Some Nights by FUN and Chandelier by Sia. If you remember the film Pitch Perfect, you'll find it hard not to draw comparisons to the Cup Song that instead uses tankards, and the harmonies will remind you of the male acapella group the Treble Tones – especially when they do their comedic sexy dancing in Pina Colada.
The show locks into that period in the characters' dress of skinny jeans, plaid shirts, braces and denim shirts. The refusal to bend to a modern style keeps the concept of normal guys who sing, play instruments, and enjoy each other's company alive and true.
The show features many moments of audience interaction, cheers to all, here's some crisps we'll slingshot into the circle, and let's throw you a coaster. It's that interactive and personal approach to the show that allows the audience to sing-along to 500 Miles by The Proclaimers or be brought up on stage to drink a pint.
Paul McArthur plays the role of Poet. With his lyrical Scottish accent, he'll monologue through the show and create what I can only describe as the best advertisement for going to the pub. There is no main storyline, there are simply musings.
This is not a musical really, it's an on-stage open-mic night done with professional lighting, sound and choreography.
A few surprises are thrown in to great effect. When I heard The Impossible Dream being belted out, and when I saw Ben Goffe don a pair of tap shoes and blow on his trumpet, I snapped to attention and realised this is something special. This is a place where people are passionate about music, entertainment, and the creative arts. I had initially been worried that this would be a bad episode of Glee, but instead it was a glorious mixtape.
The entire cast look glad to be on stage, and they bring enthusiasm in abundance to their roles and to this show. The audience mirror the enthusiasm, and the relationship between audience and actors reverberates and builds to a joyous crescendo.
The interwoven twanging of banjo and guitar with the Poet's narration pulls on your heartstrings in the monologue about home and one of the best numbers is Dance with My Father, also sung by the Poet.
There are a few moments where the arrangements didn't sound quite right, or the songs felt too big for the vocalists, but I think that's okay; it makes it feel real rather than a performance.
You could waste away an evening in a pub, or you can enjoy a night in The Jungle.
Tickets for the West End production are available here.
The show will soon set off and tour the UK for 38 weeks in March 2026.
Review: James Dix Photo: Mark Douet