Australian performer Arthur Hull delivers an undeniably energetic evening of cabaret, proving himself to be one of the hardest-working performers on the scene. Throughout the show, he sings, dances, hosts, accompanies himself on two keyboards and keeps the audience constantly involved. It's an impressive display of stamina and versatility.
The premise is simple. Flop celebrates the best songs from the worst musicals—or at least those that failed to achieve commercial or critical success. Rather than dwelling on why these productions closed, Hull shines a spotlight on the music itself, arguing that even Broadway's biggest flops can contain extraordinary songs worthy of a second life.
The setlist is deliberately eclectic, featuring songs from Carrie, Love Never Dies, Diana: The Musical, Grease 2, Spider-Man: Turn Off the Dark, Moby Dick, Cats (the film version) and more. Hull incorporates plenty of audience participation throughout the evening, with an impromptu performance by audience member Graeme as King Kong proving a particular highlight.
At just 20 years old, Hull has already built an impressive résumé. A graduate of the Flying Fruit Fly Circus, winner of the top awards at the 2024 National Busking Championships and recipient of Adelaide Fringe's Emerging Artist Award, Hull is clearly a performer with considerable talent. Despite his self-proclaimed jet lag and time away from the show, Hull even attempted an impressive circus manoeuvre, showing his versatility and willingness to take risks.
Hull's rock-infused vocal style—clearly influenced by Adam Lambert, who coached him on The Voice Australia—adds a contemporary edge to many of the musical theatre numbers. Even Hull's black eyeliner feels like a subtle nod to the glam-rock aesthetic.
Hull is an accomplished vocalist and an immensely likeable performer whose affection for musical theatre never feels anything other than genuine. That said, he occasionally mistakes volume for intensity. Some numbers are delivered at full throttle when a little more restraint would have allowed both the lyrics and emotional storytelling to land more effectively. Hull's rendition of My Funny Valentine from Rodgers and Hart's Babes in Arms is an example of where his restraint really paid off.
There are also moments where the song choices feel at odds with the thoughtful premise established at the beginning of the evening. Some of the more novelty selections lean closer to parody than an opportunity to demonstrate why these forgotten scores deserve another hearing. It would have been nice to spend a little more time with the more reflective side of both the performer and the material, however, in an hour's show, there is already a lot of ground to cover.
The evening ends with The Producers, a high-energy finale but one that inevitably invites comparison with the acclaimed current West End production starring Andy Nyman. For a theatre-savvy press-night audience, that's a difficult benchmark to finish on but also testament to Hull's boldness which must be admired.
Ultimately, Flop succeeds because of Hull himself. His enthusiasm is infectious, and he celebrates musical theatre without ever taking himself—or the genre—too seriously. With a little more confidence to let the quieter moments breathe, this cabaret could become something even more distinctive. Good luck at the Edinburgh Fringe and your tour, Arthur!
FLOP! The Best Songs From The Worst Musicals can be seen at Wilton's Music Hall, 1 Graces Alley, London E1 8JB Thursday 24 - Saturday 26 September and at the Edinburgh Fringe Festival, Gilded Balloon, Teviot
Thursday 6 - Sunday 30 August (not 12, 19, 26)
Review: Lola Phillips Photo: Jasper Woods