Review: SAUCY JACK AND THE SPACE VIXENS, King's Head Theatre, May 5 2016

Saucy Jack and the Space Vixens (at the King's Head Theatre until 21 May) is the hit musical you've never heard of. Well, maybe. Its 21 year journey from the Edinburgh Fringe to hipster Upper Street has gone via the West End and over 100 productions around the world - but not via me. So, was it worth the wait?

There's a plot straight out of Kenny Everett's camp intergalactic crime fighter Captain Kremmen's playbook - with a feminist edge - which just about holds up, but the book isn't really the point. What fires this show into the cult stratosphere are the songs. We get full on disco grooves, power ballads, love songs, break-up songs and just about every stop in-between. They're good too - though I'm not entirely sure I wanted that third reprise of All I Need Is Disco at 11.00pm! Highlights include Glitter Boots Saved My Life and the wonderful first act closer Tortured Plaything, but even the least impressive tunes are pretty good.

And then there's the warm embrace of familiarity. Isn't this a bit Rocky Horror? And this is Hot Gossip surely? Sheila B Devotion in the Spacer video? Star Wars? Barbarella? Even Spinal Tap with their Saucy Jack musical based on the life of The Ripper! All fondly remembered and all bubble up as the show progresses, giving it something of the appeal of a jukebox musical without it being tarnished with that description.

The cast perform wonders on a tiny stage, dancing, fighting and flirting while belting out the songs. Jamie Birkett leads the way as Jubilee Climax (yep, it's that kinda show) with her big voice and big boots to match. She is supported by two more vixens (Lorna Hall and Zoe Nicholls) crime-fighting through the power of disco! I didn't find Hugh Stubbins completely convincing as the baddie loverboy Jack, but he can certainly sing. The standout amongst the the rest of strong cast is Caspar Cordwell James as the transvestite Booby Chevalle, a lovely part delivered with great skill and charisma.

Though it's always a little disappointing to hear the music piped in rather then played (though Ashton Charge is very good on the sax), the cabaret feel, handheld mics and late running time just adds to the show's gig-like quality, so it matters much less than it would in a conventional musical. Okay, it's not Sunday In The Park With George and it's not The Rocky Horror Show, but it's great fun and it's delivered with great energy.

Now, where's my tub of glitter and LED headband?