Review: BLISS - Pleasance Courtyard (13/08/26)

Biggest (loudest) new musical of the fringe is anything but blissful

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Every year at the Edinburgh Fringe there is the flagship new production, that one show that has everyone talking, whether that be why it landed so well, or what future it may have beyond the festival; however in the instance of new Emma Lively and Tyler Beattie musical "Bliss", the questions on our minds, or at least in the case of this critic anyway, were "when will it stop?", and "where is the exit?" This may well come across as harsh, however the sheer sensory overload would be a stern test for even the most unshakeable theatregoer.

Set in a fictional fairytale kingdom, four royal sisters, locked in a tower in their castle, yearn to explore the walls beyond the four walls to which they have become uncomfortably accustomed, however their father the king, whose heart is in the right place but is terribly misguided, is far more focussed on ensuring they receive their formal education, deeming the “outside world” far too dangerous for four young princesses. Naturally of course, the four young royals, led by the bright as a button sister Piper, let their justifiable curiosity lead the way, and they mastermind an escape from the confines of their imprisonment, and head out on a voyage of discovery.

Alexandra Emmerson-Kirby, Miriam Nyarko, Ashara Gunda, Matilda Shapland (credit: Marc Brenner)

What actually did work rather well was the incorporation of each of the sisters’ various individual strengths to solve problems along the way, with Faye’s adeptness as a swordswoman and youngest sibling Holly’s unique ability to communicate with the animals proving especially handy in tight spots. Additionally, the design palate, comprising Jason Ardizzone-West’s sets to Paloma Young’s costumes is very well designed, simply bursting with personality. Overall though, it has to be said that Lively and Beattie’s book feels weak, underdeveloped, and delves into tropes and notions that have already been explored a million times before, plus their score lacks any sort of spark or USP.

It certainly didn’t help matters that the lighting and sound (by Jai Morjaria and Tony Gayle respectively) both felt dialled up to 11, and sadly not in a good way, as it felt like our senses were being assaulted for large chunks of the show, falling into the trap of assuming that cranking everything up as high as it’ll go, particularly with regard to the sound design, is in any way going to make the experience more enjoyable. In lieu of this, I left the venue with my ears ringing from the cacophonous din to which we had just been subjected, leaving the lasting impression that just because you can turn the theatre into a Motörhead concert doesn’t mean you should.

Fortunately, for all of its excesses, it was the performances that saved this show from falling into the realms of totally forgettable, as by any standard this is a supreme array of stage talent, with west end, international stage, tv and film credits sported across the board. One of the major standouts was Kara Lane as “dipped” princess Taffeta, initially portraying the mindless, typically pleasing to the eye and ear princess, but really letting loose after the spell is broken, she really lets her versatility shine through. Additionally our main antagonist Glimmermore, an experienced fairy godfather seeking to earn his wings by any means necessary, is brought to life by Tom Bennett with wonderful dynamism, charming yet conniving, his facade drops rather brilliantly over time, excelling at drawing us in then shifting our perception of him.

Tom Bennett and the company of "Bliss" (credit: Marc Brenner)

Our four princess siblings are undoubtedly the glue that hold this show together, each portrayed with vigour and panache, all distinct from one another yet equally powerful in their own way. Matilda Shapland is endearing and adorkable as Holly, and builds into the performance terrifically; taking on the outspoken and self-assured Carmella is Alexandra Emmerson-Kirby, whose acting performance is slightly one-note, but my goodness can she sing. As fierce, sword toting Faye we had understudy Maya de Faria, who took the role by the horns and, although the character’s arc is fairly limited, she made absolute sure she was heard. Akshara Gunda completed our quartet with style and grace, leading the line in a solid performance that captivated us throughout.

To give this show its due credit, the overall quality of both performance and visual design is excellent, with exceptional vocals across the board, and in a lot of respects it feels like the finished product, though this is largely down to it being a big budget, globally produced piece that could easily have premiered in London. The downside to all of this is that the finished product is yet another limp, generic, and excessively loud musical that lacks any sort of individuality, and truth be told it will live in the memory for all the wrong reasons.

★★☆☆☆ (2*)

"Bliss" plays at 13:00 (excl. 18/08, 25/08) at Grand, Pleasance Courtyard until the 31st of August (tickets)

{PR/Gifted Tickets}