The Bowie Show

Director Simon Gwilliam, takes us on a musical journey through Bowies greatest hits, tracing his evolution from the glam-rock heights of Ziggy Stardust to the introspective depths of his Berlin era. The production, which features 27 songs, opens with “Space Oddity”, a highlight, and concludes with a crowd-pleasing singalong to “Heroes.” For die-hard Bowie fans, this may sound like a dream; however, even some devotees may leave feeling the show doesn’t quite live up to its promise.

The production is a mixed bag. Some numbers dazzle with their high production values, while others feel uneven and underwhelming. The animated visuals, created by Billy Gwilliam, range from polished and imaginative to cluttered and distracting. Similarly, the costumes, designed by Gwilliam’s mother, occasionally hit the mark but often lack the flair and boldness we associate with Bowie’s boundary-pushing aesthetic.

The lack of a clear narrative structure is another stumbling block. Scene transitions are sometimes jarring, with moments of impressive stagecraft giving way to awkward sudden shifts that disrupt the show’s flow. Despite this, there are standouts: choreographer Sophie Quay leads an energetic and stylish troupe of dancers who elevate the weaker moments and shine in numbers like the second-half opener “Sound and Vision,” where their TV-headed costumes and bold choreography come together seamlessly with more minimalist visuals.

Musically, the show is solid, with world-class musicians delivering faithful renditions of Bowie’s classics. The three lead vocalists who take turns to be Bowie —Elliot Rose, Sian Crowe, and Greg Oliver—are all talented singers, but none quite manage to capture Bowie’s enigmatic presence. While their performances are enjoyable, they lack the raw charisma and subtle nuances that made Bowie’s delivery so magnetic. Compounding this is uneven sound production, which occasionally undermines the vocal performances.

The second half of the show offers a glimpse of what could have been. Numbers like “China Girl,” paired with a striking and minimalist dance sequence against a backdrop of fiery visuals, reveal the potential for restraint and precision to create powerful moments. Unfortunately, these highlights are too few and far between, and the overall production feels more like a tribute concert than a fully realised theatrical experience.

Ultimately, the show is a family production and an affectionate homage that doesn’t quite know what it wants to be—caught somewhere between a tribute act and a Bowie-inspired musical without fully committing to either. For those looking for a fun evening of nostalgia and singalongs, it delivers. But for those hoping for a deeper exploration of Bowie’s artistry, the production might feel more like a missed opportunity. While it has flashes of brilliance, this “freakiest show” could use a bit more polish to truly shine.