Maybe something went wrong in translation on the way to Edinburgh. Written, composed, and produced by New Zealand creative Amy Mansfield, H.R. The Musical arrived with a string of positive reviews from back home. Either I have very different tastes from my critic colleagues in New Zealand, or the production lost its edge during the move to the Fringe. Billed as a satire of corporate life, the show struggles to deliver.
The opening sequence, however, initially promises a much better hour. The first number translates passive-aggressive email jargon into a monkish chant—for “as discussed”, read, “You disgust me!” Fab. It may not be super original, but it’s a cracking wee number.
Later, a parody of The Karate Kid hits the target nearby. Watching a corporate trainer instruct the team to “show me driving positive change” while repeatedly rewarding the least competent person in the room—and refusing to explain the point of the exercise—captures the nonsense of mandatory staff training with puckish accuracy.
Beyond these moments, the show delivers sketches covering forced team-building, toxic bosses, and buzzwords, but the jokes are rarely surprising. The show really isn’t about H.R. at all, but I guess ‘Annoying Management Practices the Musical’ isn’t as pithy. However, this isn’t a show to scratch itches caused by your friendly neighbourhood H.R. executive.
Capable Cast, Predictable Script
Musically, the numbers have good ideas behind them. A mock-romantic aria titled “Mansplain it to Me” uses contemporary dance to mock condescending office behaviour with decent results. Yet other bits—such as a KPI-obsessed dominatrix leashed to a monitor, and a corporate jazz routine called “Lay Your Global All-Hands On Me”—rely on broad, over-the-top caricatures. By the time the show reaches its climax with a human-versus-AI rap battle, the comedy feels completely predictable. I’m all for the show’s rallying call to join a union, don’t get me wrong, but the show neither enrages nor entertains enough to put oomph into that cry.
Even so, the three performers on stage—Mansfield, Mika Austin, and Jessica Robinson—are undeniably capable. Drawing on Austin’s background as a former HR executive and lawyer, alongside Robinson’s experience in physical theatre and clowning, they bring plenty of vocal strength and focused energy to the room. They know how to deliver a song and maximise its impact, but they are short-changed by the material.
“ither I have very different tastes from my critic colleagues in New Zealand, or the production lost its edge during the move to the Fringe. Billed as a satire of corporate life, the show struggles to deliver.“
Ultimately, the show clearly delights some—a few gave a standing ovation in the end, although not before an equal number had walked out. However, if you’re hoping for a sophisticated musical needle in the neck of HR departments around the world, you won’t get it here.
Show details
Venue: Venue 24: Gilded Balloon Patter House, 3 Chambers St, EH1 1HT (Google Maps)
Date(s): Wed 05 Aug to Mon 31 Aug (26 shows)
Time(s): 6:30pm (60 mins)
Age recommendation: 14+
Price: From £12 (concessions available)
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