The Curious Case of Benjamin Button – Musical – Review – Ambassadors Theatre

@showsiveseen Jethro Compton & @Darren Clark's "The Curious Case of Benjamin Button" #musical at the Ambassadors Theatre. A remarkable feat of talent where the actors sing, dance, *AND* accompany themselves all at the same time. Music vibes similar to @Come From Away. Funny running gag of mixed-up sayings. Starring John Dagleish. Review: showsiveseen.com/13883 Photos: Marc Brenner Musical Director: Mark Aspinall Choreo: Chi-San Howard #westEnd #BenjaminButton #theatre #musicalTheatre @Benjamin Button The Musical ♬ Shippin' Out Tomorrow – Cast of The Curious Case of Benjamin Button

Elevator Thoughts (aka Tweet): Jethro Compton & Darren Clark’s The Curious Case of Benjamin Button musical at the Ambassadors Theatre. A remarkable feat of talent where the actors sing, dance, *AND* accompany themselves all at the same time. Music vibes similar to Come From Away. Funny running gag of mixed-up sayings. Starring John Dagleish. #time

Recommendation:
See it if you enjoy either 1) shows set in rural United Kingdom, 2) the actors playing instruments in Girl from North County, 3) or the musical style in Come From Away.


Was This the First Time I Attended a Production of this Show? Yes

Would I See It Again 3 Years from Now? No, but it was good.

Mainstream Appeal: Medium

If A Random Stranger Asked What Show They Should See This Weekend, Would I Mention This Production? Yes

My Synopsis (No Spoilers): Based on the classic short story (and possibly its film adaptation), Benjamin Button is born an old man and grows younger with time. At first, he struggles to belong in a world that cannot understand his extraordinary condition. Yet as his life unfolds in reverse, he realizes a universal truth that no matter which way the clock runs, our time is precious and should be cherished.

Synopsis from the Licensor or Theatre Company: The three-time Olivier Award-winning Best New Musical, The Curious Case of Benjamin Button, is an epic, intimate and unforgettable West End hit – hailed as “THE BEST BRITISH MUSICAL IN DECADES” (WhatsOnStage) and “A MUSICAL TO TREASURE” (The Standard). Based on the iconic short story by F. Scott Fitzgerald and reimagined in a Cornish fishing village by award-winning writing team Jethro Compton and Darren Clark, this unique, actor-musician led story is “EPIC AND CINEMATIC WITH A TREMENDOUS SCORE” (Daily Mail). Winning the 2025 Olivier Awards for Best New Musical, Outstanding Musical Contribution (Darren Clark and Mark Aspinall) and Best Actor in a Musical (John Dagleish), the 14-strong cast of actor-musicians playing 30 instruments perform “MIRACLES OF DEXTERITY ON STAGE” (The Times) – bringing to life a heart-burstingly, magical tale of a love that defies all odds. Under the light of a full moon, something most curious occurs… Benjamin Button is born old. Bound to the fate of growing younger each day, Benjamin wants nothing more than to live a little life. But will he ever find a place to belong?

Type: Musical

World Premiere: No

Several or Few Scenes: Several

Several or Few Settings/Locations: Several

Static (Stationary) or Dynamic Set: Static

Prior Exposure/Knowledge Required: If you’re familiar with the short story or the film, you might find this adaptation more accessible. But don’t expect it to follow the movie closely, as I discovered. While I’ve seen the film, I haven’t read the original story, which I suspect this musical draws from more faithfully. For instance, in the musical, Benjamin Button doesn’t begin life as an infant-sized old man, nor does he live the wide-ranging worldly life depicted on screen. His parents are also not a Black adopted couple, and the story’s tragedy diverges significantly from the film’s version.

Defined Plot/Storyline: Yes

Live Band/Orchestra: Yes, it was the entire cast

Union Actors: 14

Total Actors: 14

Perceived Pace of the Show: Medium Speed

Was there an intermission? Yes

Length (Including Any Intermission): 2.5 hours

Other Rave(s)

  • Actor Band: The actors impressively doubled as their own orchestra. They played a vibrant plethora of instruments including the flute, guitar, fiddle, accordion, bass, drums, beatbox, spoons, tambourine, trumpet, piccolo, French horn, and cello. It was remarkable to watch them play the score (by Darren Clark and Mark Aspinall) entirely from memory while simultaneously acting and dancing. A production like this must be more economical than one requiring a separate band. I can only hope the performers were compensated extra for being their own orchestra.
  • Running Gag: The script by Jethro Compton featured a funny running gag of botched sayings like “Just do it a hundred times and you’ll be able to do it with your mouth closed” and “There’s plenty more girls in the sea.”
  • Drowning: Drowning was portrayed with striking realism and simplicity. It required no elaborate stage effects to convey its impact, just mostly lighting design (by Zoe Spurr).
  • Reunion: A heartbreakingly touching reunion unfolded as Benjamin Button, appearing youthful in his later years, encountered Little Jack (played by Jack Quarton) from his earlier years who didn’t recognize him.

Rant(s)

  • Unimportant Characters and Details: The script was weighed down by excessive inconsequential side characters, which distracted from the core story that the audience truly needed to follow and remember. Similarly, it overemphasized trivial details like times, dates, and minutes too often. To put it in perspective, imagine if “Seasons of Love” from Rent listed not just “five hundred twenty-five thousand six hundred minutes,” but 50 additional time references. While the intention was clearly to reinforce the theme of time, the effect was more overwhelming than meaningful.

Other Musing(s) and Observation(s)

  • Folksy Tunes, Foreign Lens: Much like my previous review of Stereophonic, this show was challenging to fully connect with as a BiPOC audience member. Set in the weathered coastal countryside of the UK and steeped in folksy pub music, it’s unapologetically British in flavor. Portland, Oregon audiences would love it, especially with the rich array of instruments.
  • Hollywood vs Stage Male Romantic Lead: The talented leading male actor John Dagleish brought a unique presence to the role. But he differed from the conventional Hollywood leading-man look. I had come in expecting someone more in the vein of Brad Pitt from the film!

Venue: Ambassadors Theatre

Venue Physical Address: West St, London WC2H 9ND, United Kingdom

Venue Classification: West End

Dates: October 10, 2024 to October 11, 2025

Seating: Assigned Seating

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Pictures: See production pictures below by Marc Brenner.

Cast and Production Team: See after pictures below.

THE CURIOUS CASE OF BENJAMIN BUTTON. The Company. Photo Marc Brenner.
THE CURIOUS CASE OF BENJAMIN BUTTON. The Company. Photo Marc Brenner.
THE CURIOUS CASE OF BENJAMIN BUTTON. The Company. Photo Marc Brenner.
THE CURIOUS CASE OF BENJAMIN BUTTON. John Dagleish (Benjamin Button). Photo Marc Brenner.
THE CURIOUS CASE OF BENJAMIN BUTTON. John Dagleish (Benjamin Button) and Jack Quarton (Jack Trenlee). Photo Marc Brenner.
THE CURIOUS CASE OF BENJAMIN BUTTON. Damien James, Oonagh Cox, Ann Marcuson and Company. Photo Marc Brenner.
THE CURIOUS CASE OF BENJAMIN BUTTON. Clare Foster (Elowen Keene) and John Dagleish (Benjamin Button). Photo Marc Brenner.

Operation Mincemeat – Musical – Review – Fortune Theatre

@showsiveseen "Operation Mincemeat" #musical at #WestEnd's @FortuneTheatreLDN in London & Broadway’s Golden Theatre in NYC. Seamless cast doubling and thoughtful gender swaping showcased the actors' wide range. The endearing Peter McGovern stole the show in this witty surprise hit. World tour launches Feb 2026! Review: showsiveseen.com/13654 Photos: Matt Crockett Director: Robert Hastie Music Director: Ben Cox #WW2 #WWII #theatre @Operation Mincemeat Broadway @Operation Mincemeat ♬ Making a Man – Operation Mincemeat

Elevator Thoughts (aka Tweet): Operation Mincemeat musical at West End’s Fortune Theatre in London & Broadway’s Golden Theatre in NYC. Seamless cast doubling and thoughtful gender swapping showcased the actors’ wide range. The endearing Peter McGovern stole the show in this witty surprise hit. World tour launches Feb 2026!

Recommendation:
See it, especially if you enjoy British-style theatre.


Was This the First Time I Attended a Production of this Show? Yes

Would I See It Again 3 Years from Now? Probably

Mainstream Appeal: Medium

If A Random Stranger Asked What Show They Should See This Weekend, Would I Mention This Production? Yes

My Synopsis (No Spoilers): Based on a true story, the British hatch an audacious and unconventional plot to outwit the Nazi forces during World War II.

Synopsis from the Licensor or Theatre Company: The year is 1943 and we’re losing the war. Luckily, we’re about to gamble all our futures on a stolen corpse. Singin’ in the Rain meets Strangers on a Train, Noel Coward meets Noel Fielding, Operation Mincemeat is the fast-paced, hilarious and unbelievable true story of the twisted secret mission that won us World War II. The question is, how did a well-dressed corpse wrong-foot Hitler?

Type: Musical

World Premiere: No

Several or Few Scenes: Several

Several or Few Settings/Locations: Several

Static (Stationary) or Dynamic Set: Dynamic, but austere

Prior Exposure/Knowledge Required: No, but you’d probably appreciate this show more if you’re familiar with the historical war operation.

Defined Plot/Storyline: Yes

Live Band/Orchestra: Yes

Union Actors: All

Total Actors: 5

Perceived Pace of the Show: Medium speed

Was there an intermission? Yes

Length (Including Any Intermission): 2.5 hours

Other Rave(s)

  • Gender Portrayal: The casting choices were thoughtfully planned as female actors played roles of power and force, while male actors embodied characters with less agency or influence. For instance, Alex Young (a woman) played Ewen Montagu, an alpha who carried himself with the unshakable white man confidence that the world will automatically fall at his feet. Young delivered the role with commanding presence, exuding “main character” energy reminiscent of Starbuck from the reimagined Battlestar Galactica. In contrast, the endearing Peter McGovern played the geeky, socially-awkward beta underdog Charles “Charlie” Cholmondeley who sang about wanting to be a maggot in “Dead in the Water.”
  • Seamless Changes: The cast transitioned fluidly between scenes, locations, and convincing characters without needing transition pauses while still allowing the audience to track each change with ease.
  • “Dear Bill” Song: It wasn’t on my bingo card to tear up when Jason Kajdi (or was it Danny Becker?), in drag as a matronly woman Hester Leggatt, sang a poignant love letter to a fake boyfriend. It was a nice touch for his character to accidentally slip the name of the real man who inspired the love letter.
  • Nazi Song: The second act opened with an unexpected number, “Das Übermensch.” Styled like a pulsing techno-dance track, it was a satirical piece about the Nazi enemies similar to The Producers “Springtime for Hitler”. The lyric “Goose step to the left, jump to the far right” was particularly clever. At the end, when the audience offered the obligatory (but well-earned) applause, one character broke the fourth wall to scold us, “Really?! Whose side are you on?” It was a brilliantly uncomfortable moment that turned the usual post-song reaction into part of the satire.
  • “All the Ladies” Song: Roshani Abbey (as Jean Leslie) led a high-energy female-empowerment anthem that channeled the girl-group swagger of Fifth Harmony and the theatrical flair of Six. At moments, her delivery even echoed the rap style of Nicki Minaj.
  • American: As an American watching a British show in a London English theatre, it was funny to see how we are portrayed. The American character was a boisterous pilot in a leather sherpa jacket emblazoned with the USA flag. He carried a hot dog and exclaimed, “Jeez Louise!”
  • Substance Over Spectacle: Given the seemingly dull subject matter in the synopsis and the tiny-theatre-that-could vibe of the venue, I didn’t go in with terribly high expectations for this show. But by the end, I was genuinely surprised by the production as a whole. Unlike the big, flashy superficial productions I usually gravitate toward, this one relied on the substance of its script and the cast’s impressive range of talent. It’s easy to see why it won Tony Awards and the Laurence Olivier Awards.

Rant(s)

  • Orchestra/Band: The music sounded overly synthesized and artificial to the point where I questioned whether a live band was even present. While digital tools may be more cost-effective than analogue instruments, this is the West End! We expect the richness of real instruments. I’m curious what this sounds like in the current Broadway production.
  • Ending (No Spoilers): As with many musicals, the ending felt lazily constructed. It was abrupt with awkward unfolding. The show’s ultimate message was muddled, coming across less as a thoughtful conclusion and more as a smug declaration like “Lucky us, we control the narrative. Sucks to be you.”

Other Musing(s) and Observation(s)

  • Breaking Character: In the second act, a few actors broke character with unscripted laughter. It was a refreshing indication that even after countless performances, the cast continues to find joy in sharing the show.

Venue: Fortune Theatre

Venue Physical Address: Russell St, London WC2B 5HH, United Kingdom

Venue Classification: West End

Price Range: £59.50 to 149.50 GBP

Seating: Assigned Seating

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Pictures: See production pictures below by Matt Crockett.

Cast and Production Team: See after pictures below.

Roshani Abbey, Chlöe Hart, Peter McGovern, Alex Young and Danny Becker. Photo by Matt Crockett.
Roshani Abbey, Chlöe Hart, Peter McGovern, Alex Young and Danny Becker. Photo by Matt Crockett.
Chlöe Hart, Christian Andrews, Emily Barber, Seán Carey and Claire-Marie Hall. Photo by Matt Crockett.
Geri Allen as Ian Fleming. Photo by Matt Crockett.
George Jennings as Charles Cholmondeley. Photo by Matt Crockett.
Chlöe Heart as Ian Fleming. Photo by Matt Crockett.
Credits from Operation Mincemeat London Website.
Credits from Operation Mincemeat London Website.
Credits from Operation Mincemeat London Website.
Credits from Operation Mincemeat London Website.
Roshani Abbey as Jean Leslie & Others. Photo by Matt Crockett.
Peter McGovern as Charles Cholmondeley & Others. Photo by Matt Crockett.
Madeleine Jackson-Smith as Ewen Montagu, Jean Leslie & Others. Photos by Matt Crockett.
Jason Kajdi as Hester Leggatt & Others. Photo by Matt Crockett.
Operation Mincemeat Geri Allen as Johnny Bevan & Others. Photo by Matt Crockett.
George Jennings as Charles Cholmondeley & Others. Photo by Matt Crockett.
Danny Becker as Hester Leggatt & Others. Photo by Matt Crockett.
Chlöe Hart as Johnny Bevan & Others. Photo by Matt Crockett.
Alex Young as Ewen Montagu & Others. Photo by Matt Crockett.