Public – The Musical at Curve in Leicester – review

Public – The Musical is based on four strangers finding themselves locked overnight in a gender-neutral public toilet. Each has somewhere else they need to be, so finding themselves in confinement is most inconvenient. Factor in a plethora of problems, and we have a storyline which suggests tension, confrontation and emotional fallout. In practice, it never quite builds the pressure or depth needed to deliver.

We are introduced to quickly sketched stereotypes, representing people who would not normally interact outside of this forced setting. Unfortunately, they never develop much beyond this. Laura, played by Cole Dennis, is anxious and preoccupied with travel plans and relationship concerns. Matt Corner’s Andrew arrives angry, argumentative and full of finance-bro energy. Ivano Turco’s Finley flits between jittery and withdrawn, clearly on the edge, while Grace Towning’s Zo, dressed as a bee, on her way to a protest alongside her many social media followers, is immediately difficult to warm to.

The piece pushes for emotional intensity, but the circumstances and writing do not fully support it. The book, by Hannah Sands, Kyla Stroud and Natalie Stroud, lacks cohesion. Scenes feel loosely assembled, often existing simply to move the characters towards the next song. Some figures are given more development than others, though even these feel incomplete. Each role remains tied to a single perspective, which is not meaningfully expanded, even in solo numbers.

It’s really difficult to like these characters, let alone understand them. Dialogue is drawn out and clunky, behaviour shifts happen too abruptly, and backstory is delivered in blunt chunks or is overly stuffed into a song. There are few surprises as the narrative unfolds predictably.

The cast give committed, stellar performances, only limited by the material. Any awkwardness in their dynamic is rooted in the writing rather than the acting. Vocally, they are outstanding. The four-part harmonies are executed beautifully; they carry them with ease.

The show’s strength lies in its music, which maintains a clear identity even when the narrative falters. Stroud’s score draws strongly on pop influences, and the show has many potential hits. “Graffiti” stands out for its energy and sense of fun, while “Missing Pieces” offers a more sincere, yet brief glimpse into a character’s backstory.

The production design is a highlight. Amy Jane Cook’s realistic set makes effective use of the confined space. With working sinks, retractable toilets and movable cubicle doors, the staging is visually engaging. Katy Morison’s lighting shifts between softer states and striking neon flashes, adding variety and complementing the set.

Public – The Musical attempts to explore identity, language and allyship through a forced encounter between strangers. It is an interesting premise that has the potential to be truly funny and thought-provoking, with greater precision. The intention is clear, but the execution feels confused and occasionally heavy-handed. As it stands, the music carries the production, while the storytelling struggles to keep up with its ambitions.