The Choir of Man Review (Belgrade Theatre Coventry 2026)

I first saw this show back in 2021, just after lockdown, and I remember it feeling like more than just a performance. Everyone was just so glad to be out, in a room together, and it had that almost electric festival atmosphere where people were cheering at things that probably would not have had the same reaction before. Being invited to the Belgrade for The Choir of Man review was an opportunity I jumped at.

Seeing it again this week at the Belgrade Theatre in Coventry felt just as powerful, but in a slightly different way.

The whole thing is set in a pub called “The Jungle”. Nine men, one landlord, and what is essentially just a normal night down the local. You could be in any pub really. There is no real storyline. You are just introduced to each of them, bit by bit, through songs and monologues, and you start to piece together who they are, although you’re probably already turning to the people you came with and saying “he reminds me of so and so” which makes it feel relatable like no other piece of theatre I’ve ever seen.

Before the show even starts, the bar on stage is open. It is an actual working bar and people are invited up to get a drink. The cast are already there, moving between the stage and the audience, chatting, singing, handing drinks out. It completely changes the atmosphere straight away because it does not feel like you are just sitting watching something. You are part of it from the off.

When the show officially opens with “Welcome to the Jungle” it is loud, high energy and straight in. Everyone claps along, singing, and it sets the tone for the whole show.

There is loads of audience interaction all the way through. People get pulled up on stage, there are little moments with the crowd, and it all feels really natural rather than forced. At one point they throw beer mats into the audience, but when you actually look at them they have information about the Campaign Against Living Miserably on them, a charity who’s aim is suicide prevention which links back to the themes running through the show.

Because although it is full of crowd-pleasing songs and big moments, there is also something much more subtle going on underneath. As quickly as the audience is encouraged to clap and sing along to the big numbers there are moments which make you hold your breath.

There is a scene where most of the men are watching football, completely absorbed in it, and then one of them is just off to the side, not part of it at all, singing Hello (Adele). It is quiet at first, quite stripped back, and you can feel that he is not okay amongst the slow motion movements as the cast around him celebrate a near miss and then respond to a penalty being given. It’s at this point the vocals and talent of the cast really begins to shine

What I really liked was that it was not overdone. The landlord just notices, goes over, puts a drink down and has a quick word. That is it. No big speech, no dramatic scene, just a small moment that says everything.

It made me think a lot about how people actually interact, especially men, and how sometimes it is not about having a big conversation, it is just about someone noticing.

There is also a nod to pubs closing and that loss of community spaces. I remember that hitting quite hard when I first saw it in 2021, fresh out of lockdown everyone in the audience was raising a glass as they listed names of pubs “The Swan” “The red lion” etc – all familiar names which resonated around the room as audience members joined in by raising their glasses and it still creates the same response. We all miss those places where people would just go and be around other people are disappearing which are being replaced by new build housing which just isolates us all further.

Every single person in the cast is incredibly talented. The vocals are strong, the harmonies are tight, and they are all playing instruments as well. There is constant movement, tap dancing, and a lot going on, but it never feels chaotic. It just works. Every single song just hits at the exact time it needs to and then the narrative between them is seamless with rhythmic and rhyming flow.

During the interval, the stage bar opens again and the cast come back out. People are invited up onto the stage, taking photos, getting drinks, and the cast suddenly starts singing again. At one point I was on stage dancing to Livin’ on a Prayer with them, which is not something I ever expected to be doing at the theatre. I got the chance to speak to several members of the cast, grab selfies and just enjoy the show. This level of participation just helps to craft the unique atmosphere inside the theatre and I have to admit I did wonder how the show would be transformed after seeing it in a festival environment. I needn’t have worried.

The second half builds again, and then towards the end there is a moment that completely changed the atmosphere.

Before the show ended someone came out and explained that they had been working with local choirs. Two choirs stood up in the audience, and there must have been over 100 people between them. Their performance of Sia’s chandelier was dedicated to one of the founders of one of the choirs who had passed away.

The whole of the Belgrade theatre just went silent.

It was one of those moments where you could feel it. Nobody moving, nobody talking, just listening and watching. It was honestly incredible, especially knowing they had barely rehearsed it together.

Then as quickly as it had us feeling all the emotions it lifts again, like the show always does, and you are back into those bigger moments, the interaction, the humour, the music.

It ends quite simply. A poignant folk song, just like many evenings in this type of public house have ended before. Last orders are called and the pub empties. As the landlord exits the stage he turns off the lights.

Then for the final time everyone is on their feet roaring to give a standing ovation, clapping and cheering for one more song. My sister turned to me and said she didn’t want the night to end.

It is one of those shows that is just genuinely good. Not overcomplicated, not trying too hard, just really well done, with something to say underneath it all.

In times where so much divides us and much of our social interaction is digital there’s something to be said for how great you feel in yourself after seeing a show like this.

The easiest five stars I’ve ever given to a show and we listened to the Spotify playlist in the car on the way home.

The Choir of man is touring the UK until December 2026

Last Updated on Wednesday, April 8, 2026 by Lavania Oluban