The highly anticipated London mount of High School Musical has finally reached Wembley’s Troubadour Theatre, celebrating twenty years of the hit film. The question on everyone’s minds going into this show, however, has always been whether it can live up to its inspiration, or if it will fall flat for a live audience.
Directed by Joseph Houston and William Whelton of Hope Mill Theatre, this production of High School Musical clearly stems from a place of deep love and appreciation. Like so many adapted shows, it was interesting to see whether this would rely too heavily on noughties nostalgia, or if it could elevate it to new heights.
The show, first and foremost, makes excellent use of its theatre. The Troubadour has played host to multiple shows since it’s conversation from a television studio to an immersive live theatre.
From Newsies to Starlight Express to High School Musical, it’s so integral to the experience to make the most of the environment. Luckily, HSM does just that — taking audience participation to wonderful heights before the show, with the ensemble teaching and leading each section of the audience in the Wildcats cheer, and utilising the entire theatre during emotional climaxes as well. The set design also reflects this intention well, from screens either side of the stage that scan the audience, to a carefully-crafted set of lockers that transforms the majority of scenes.
Aaron Renfree’s choreography stuns for the most part, especially during Getcha Head in the Game. It was always going to be a huge number to pull off, but the entire cast makes it look almost easy, as if they’ve been dancing with basketballs as partners their entire lives. The dancing is brought to life by an incredibly talented ensemble, potentially making them the stars of the show entirely. Each member of the ensemble embodies every character they play — cheerleaders stand out with bold moves, to brainiacs who almost fall into every action by mistake. It’s a wonderful thing to witness, an ensemble that shines so brightly under the spotlight that it’s almost impossible to focus on the leads sometimes.
Tobias Turley takes on a lead role as Troy Bolton, starring opposite Leonor Correia as Gabriella Montez. Both faced a difficult task to make these characters their own, as they are so beloved amongst theatre kids and noughties kids. For the most part, they managed. It was always going to be hard to step into that spotlight and vocally, they absolutely do. Turley makes a grand musical turn as Troy in the second act, while Correia carries a nervousness throughout the entire show that speaks to her singular former role in London’s theatre scene. She does very well, but doesn’t throw herself as into the role as Turley does and it creates a rift in performance during some scenes.
Aside from the ensemble, the true standout performance is Caitlin Tipping as Sharpay Evans. Tipping embodies the fabulously famous Sharpay, from her comedic timing right down to her stiletto strut. Luke Bayer (as Ryan Evans) is also wonderful, with the pair of them stealing every scene they appear in. It would be remiss of me to ignore the two most discussed names in the show. Kaycee Stroh falls into the role of Ms Darbus with a vengeance, every lilt and flair to her voice an incredible iteration of the beloved character. To see her opposite McFly’s Harry Judd as Coach Bolton is a real treat. They bring back the much-loved dynamic of the two characters in a way that feels so entirely original, and yet so incredibly classic as well.
The level of care that has gone into the show reflects in every moment, if nothing else. The costuming, as terrible as it seems to refer to it as a period piece, does reflect the time, and also embraces the star power of mounting a show like this. Sequinned tracksuits donned for the last number prove that the love for the show is present in every decision and that each and every member of the cast and crew deserves to sparkle just a little for how impressive a show it is.
You can catch High School Musical at Wembley Troubadour for a limited time, only running until 3 January 2027.
It runs until 3 January. Tickets: here.
Review: Abi Griffin Photos: Matt Crockett