Review: MILLENNIALS, The Other Palace

A ball pit, inflatable flamingos, beanbags, confetti, a pink shiny wall, beach balls, and a giant avocado. Walking into the transformed Studio at The Other Palace is like stepping into a pink and green Willy Wonka's chocolate factory, where unexpected fun lies around every corner.

It would feel remiss to begin by discussing anything other than Andrew Exeter's spectacular set design. The Studio is truly unrecognisable: the avocado-shaped stage features a trampoline as the pit, and while there is the option of conventional seats on the balcony, audience members are encouraged to sit on the likes of inflatable chairs, blankets, and even a bathtub in the vibrant downstairs area.

The production is truly immersive: the actors move around the space throughout, pulling spectators up to dance with them, and spraying silly string, while staff use bubble machines to magical effect. Drinks company &Soda sponsor the show so free drinks are provided, and iconic pop hits play before the songs begin, giving the space a true party atmosphere. The actual audience participation is limited though, and was enjoyable even for this participation-averse reviewer. It feels like we are entering an exciting era for unconventional theatre spaces and immersive performances: while the shows themselves couldn't be more different, the Millennials experience had a lot in common with the Olivier-winning Cabaret in its Kit Kat Club venue.

There is no weak link in this cast of six, with each performer bringing a truly individual voice and style to the production. The result is an unexpected but well-blended ensemble, showcasing the diverse range of performers finding success in musical theatre today. Luke Bayer (Everybody's Talking About Jamie) opens the show, and explodes with energy in every dance break. Fellow Jamie alumni Hiba Elchikhe shows off her versatility, belting and riffing with star power in "21st Century Girl", before giving a heartfelt, emotional performance of "Count My Blessings" towards the end of the show.

Rob Madge (My Son's a Queer) is a comedic stand-out, addressing the audience with camp contempt in witty number "Four Little Words", while Luke Latchman, is hilarious in his song "Priceless". TikTok and Heathers star Hannah Lowther really invites the audience into the world of the show, and proves her vocal talent. The best vocal performance overall comes from recent grad and former Cinderella alternate Georgina Onuorah, whose warm tone and powerful belt steals the show in "Remember the Feeling".

Director Hannah Benson moves the cast around this giant, sparkly playground with precision and flair. She manages to make each song distinct and memorable, while retaining a show that's stylistically consistent overall too - not an easy feat with a song cycle. She also tackles with great skill the challenge of making the show both visible and enjoyable from all of the various seating options in this very unconventional space. Choreographer Tinovimbanashe Sibanda injects the show with quirky energy and dynamic movement.

It's impossible not to have fun at Millenials, and the experience feels like a true party. But does the show itself work?

Song cycles are a funny beast. Writer Elliot Clay describes them in the programme as "like a rite of passage for new writers", and it's true. Many of the most successful musical theatre writers started off with song cycles, including Jason Robert Brown's Songs for a New World and Pasek & Paul's Edges.

It's rare for a song cycle to get a production this "staged" and fully realised, but perhaps proves what the form has to offer. It suits the immersive, fun nature of this production perfectly, busy and pacey enough to keep boredom well at bay. If you forgive the pretentious turn of phrase, it feels more like a theatrical experience than a musical in any traditional sense.

There is a fundamental existential problem with Millennials, however: it isn't really about millennials. The show is generally about existing in the world as a young person, probably specifically a twenty-something, but its insistence on millennial identity is what trips it up. The show's aesthetic sits strangely between millennial and Gen Z, a clash which is also reflected in a programme collage that features both references to 'Generation Snowflake' and 90s Leonardo DiCaprio. Its confused identity also likely stems from a shift in online attitudes: as millennials age into their late twenties and early thirties, millennial identity on sites like Twitter and TikTok is no longer associated with being young and resistant, giving the show a lack of specificity.

The songs themselves also lose track of their central connection. The best individual song is probably "Remember the Feeling", a catchy, well-written pop song about a breakup that has nothing recognisably millennial about it. Songs like "Priceless", about feeling resentment to former classmates who have found success and wealth only due to family connections, is funny, relatable, and distinctly young, but not in a millenial-specific way. The show's design, marketing angles, and casting choices feel targeted more towards under-30s in general. In fact, it is the lyrics specifically about being a millennial that provide the show's cringer moments.

In spite of this, Millennials marks Elliot Clay as a writer to watch. In this quick 70 minutes, he proves that he's mastered all the staples of musical theatre, from heartbreaking female ballads to witty character songs and big ensemble numbers with strong harmonies and overlapping lyrics. The musical styles included range from typical contemporary MT to full-on pop and even rock. Clay is clearly an accomplished and exciting composer and lyricist, and I very much look forward to seeing his work on stage again soon - he has all the skills required to write a fantastic full-form musical.

Millennials marks the second time this year that a new musical has progressed from a workshop at MT Fest to a fully-staged production, with the first being But I'm a Cheerleader, which ran at the Turbine Theatre earlier this year. Slowly but surely, British new writing is making its way into the spotlight.

While Millennials may not entirely work as a song cycle, there's no denying that it's some of the most fun you could possibly have at the theatre. Who doesn't want to watch a show from a ball pit?

Millennials runs at the Studio at The Other Palace until 7 August

Photo Credit: Mark Senior

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