Stephen Bates

The show serves as a reminder that, before being lured into musical theatre, Lloyd Webber’s roots lay in 1970s concept albums. Around 20 entirely separate songs, sometimes in very different styles, are strung together without any linking dialogue, leaving Richard Stilgoe’s delightfully tongue-in-cheek lyrics to do the storytelling work. In a vain attempt to attach some logic to the nonsense that unfolds, the narrative is encased within the dream of a small child.