‘Filthy, flamboyant, and with a touch of fragility thrown in, this is an unapologetically unconventional night at the theatre’
Grindr: The Opera written by Erik Ransom is exactly the sort of show that arrives with a title guaranteed to raise a few eyebrows — and then proceeds to deliver something far more ambitious, entertaining and surprisingly thought-provoking than you might expect. An entirely new concept brought to life.
Taking the world’s most notorious gay dating app and placing it firmly inside the heightened, outrageous world of opera, Erik Ransom’s musical is a wonderfully bizarre collision of sex, technology, love, obsession and human connection. It is bold, unapologetic and hilarious, but beneath all the camp, cheeky humour lies a surprisingly poignant exploration of what happens when technology begins to influence the way we connect with one another.
The concept alone is inspired. Grindr itself becomes almost a character in the story — a seductive, manipulative force tempting its users with an endless stream of possibilities. Why settle for one thing when you can have it all. The production cleverly explores the addictive nature of choice and the idea that having countless potential connections doesn’t necessarily make finding genuine love any easier.
Musically, this is certainly not your conventional musical. At times it feels like an opera has wandered into a nightclub, while at others it becomes a surprisingly moving character drama. The accompaniment of a live band on stage brings cohesion to the whole performance. Their music enhances the rollercoaster of events and emotions you’re taken on.
Christian Lunn offers a standout performance as Grindr. Larger than life and deliberately sinister, he embraces the opportunity to play a character who embraces everything addictive, destructive and irresistible. His commanding vocal performance gives the character a presence that is impossible to ignore. Devon (Patrick Barrett) with his easy, soothing velvety vocals injects heart into the show in amongst the sleaze and chaos. Oliver Cartwright with his on point facial expressions and Will Loader with his poise and grace show versatility in their performances by seamless moving between scenes and delicately setting staging, performing vocals and keeping scenes moving. Jack played by Will Joel is promiscuous, brash and bold and adds the naivety of youth to the production whilst Kane Verral who plays Tom is a young yet calmer character who shows warmth and compassion can be found amongst a storm. Verral also demonstrated his beautiful vocal ability. Don (Dereck Walker) is a more tortured character; inner turmoil is clearly portrayed but also with the ability to switch into a more comedic and exaggerated character.
The cast work brilliantly together, navigating the show’s rapid shifts between outrageous comedy and more emotionally vulnerable moments. Wonderfully timed and choreographed by director William Spencer, there is an infectious sense that everyone on stage is having loads of fun together while still taking the underlying story seriously.
The staging (Spencer) embraces the show’s eccentricity with neon lighting, gothic towers and a large space which can be utilised well. The set is compartmentalized to allow each character their own domain. With David Shields’ set and costume design, Chuma Emembolu’s lighting, and Dominic Young’s sound working together, the production creates a world where technology, desire and fantasy constantly collide.
What makes Grindr: The Opera work so well is that despite a shocking and provocative title there is a genuine emotional thread running throughout. What are we actually looking for when we go searching for someone else? Sex? Attention? Love? Or simply the reassurance that we find someone who cares?
It’s a question that gives the production considerably more depth than its title might initially suggest.
Filthy, flamboyant, and with a touch of fragility thrown in, this is an unapologetically unconventional night at the theatre. It may not be for everyone – but for those who are willing to be open to a new exciting experience, a show with a difference and delve into the questions facing us in this new technological world, it is a wonderfully entertaining and audacious piece of musical theatre.
A cleverly constructed, outrageously camp comic opera which provides a surprisingly thought-provoking night out. A touch on our new age reality.
Review Date: 4th September 2026
Star Rating: FIVE