(seen at the afternoon preview performance on 18th July 2026)
If the theatre gods are kind, this afternoon will – in time to come – be one of those “I was there at the start” moments. Just like the original audiences of “Oklahoma,” “Cats” and “Operation Mincemeat.” This is theatre history in the making.
According to the monkey, anyway.
Mark Sonnenblick’s work can be seen currently at the Dominion Theatre, as lyricist on “The Devil Wears Prada.” The monkey raved about that show, but this takes his skills to a whole new level.
A sensationally brilliant fully immersive cabaret room from designer Scott Pask places us in Greenwich Village, sometime in the late 1960s.
For those who know and love his music, we are mourning the death today of songwriter Arthur Brightman. Long time singing (and former life), partner Trevor Copeland helps us look back on Brightman’s career and their remarkable relationship.
Over 90 minutes of intimate reminiscences and inspired songs that mark milestones in their lives together (and apart), we learn more about the songbook Brightman has left us – and the emotional scars written in every note for the couple.
Gregor Milne is just the pianist, Brightman is no longer with us; Milne is sometimes Brightman to Trevor’s eyes.
Trevor sometimes struggles with his emotions, but fascinates us with his renditions of those classic songs we all know so well and often grew up with through our parents’ record collections and endless radio play.
We are so lucky to have them collected for this one-off commemorative concert, and feel the chill of the homophobic era when they were first composed… and considered unsuitable for the wider (bigoted) public.
And not a moment of the lives and music of Brightman & Copeland – most famous for their years playing the midnight show at the Never Get club’s back room – is real.
Yet every single second is.
Ben Platt is more than stellar as Trevor. He sells every note of every song, his singing style evolving as our fictional composer’s writing becomes ever-more sophisticated with experience.
Sonnenblick gives both him and Gregor Milne platinum to work with; the duo add the diamond settings.
The monkey refuses to go into further detail, for fear of spoiling the instinctive reaction of anyone planning to attend. Suffice to say that your uplifted heart will be shattered in ways you cannot imagine.
Once word gets out, the monkey is certain that “Midnight at the Never Get” will be re-named “Midnight at the Never Get A Ticket For Love Nor Money.” Make sure that does not happen to you.
5 stars, standing ovation given.