EdFringe Review: Disenchanted! The Hit Musical

Walking out of the Pentland Theatre for Disenchanted!, I couldn’t deny the sheer, undeniable polish of the staging. Director Daniel Buckroyd oversees a formidable, highly professional production, visually anchored by Sara Perks’ superb set and costuming that cleverly frays the edges of iconic storybook gowns. Kayleigh Dettmer’s choreography is crisp and lively, while Barry Smith’s lighting and Kieran Powell’s sound design ensure the cues land seamlessly.

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Crucially, having musical director Jennifer Deacon Say on stage and not just a recording delivers genuine live musical energy. Every vocal belt is crystal clear, and the ambitious, comedic lyrics are easily parsed. Yet, for all its technical perfection, the show rests on a satirical premise that feels distinctly past its expiration date in 2026.

Billed as a hit musical, the production functions as a cabaret revue with little narrative thread, kicking off with “One More Happ’ly Ever After” before settling into a parade of storybook heroines airing grievances. The structure relies entirely on these princesses taking the microphone to declare that the “happily ever after” complex is toxic—and that is the limit of its thematic depth. Watching the revue unfold, I could not shake the feeling that the material was penned by a man—creator Dennis T. Giacino—who harbours a deep, specific scorn for Disney, but whose satirical targets have not shifted since the late 1990s. The entertainment giant has long since moved on, rendering much of this rebellion moot. In fact, I suspect the modern House of Mouse would heartily endorse the show’s closing number, “Perfect”, which earnestly assures the audience that all women are flawless as they are.

Vocal Powerhouses and Bizarre Musical Numbers

Despite the thin material, the performers fight fiercely to elevate the evening. Ashley New is a standout, bringing warmth and sublime vocal control to Pocahontas in “Honestly”, before shifting to Mulan for “Without the Guy”. It’s not her fault that the show frames Mulan, a legendary warrior who defies gender roles, as a lesbian just because she’s a badass.

Elsewhere, Jewelle Hutchinson nearly steals the show during her high-voltage performance of “Finally” as The Princess Who Kissed a Frog, while Eliza Bowden displays remarkable comic versatility as an unhinged Belle in “Insane!”, a campy Little Mermaid in “Two Legs”, and a militant Rapunzel. Once again, the performer cannot be blamed for the writer reducing the long-haired heroine to a broad German stereotype.

Lois Glenister also holds the centre well as a commanding Snow White, proving she has the vocal chops to hit both classical soprano notes and heavy belts with ease.

It really is a pity that with all this talent and expert direction, the show is so underwhelming, narratively speaking. However, when matters drift into generalised grievances, the writing becomes genuinely bizarre. Numbers like “Big T*ts” dedicate an entire musical diversion to the idea that princesses require massive chests — which has nothing to do with Disney portrayals. Similarly, Cinderella’s featured number “All I Wanna Do Is Eat” feels less like a deconstruction of passive heroines and far more like a reductive idea of female obsession. There’s none of the sophistication you find in outstanding shows like & Juliet, which similarly revisit centuries-old stories, but with far more wit, nuance, and laugh-out-loud comedy.

It’s no surprise then that, while the musical numbers are exquisitely performed by a ridiculously talented company, the songs themselves, though competently constructed, are rather forgettable until that final big number. ‘Perfect’ is a bona fide showstopper, but the rest I’m Okay with forgetting. The potential for something majestic is evident in every aspect of the show; a ruthless dramaturg might work wonders!

For now, however, there’s just no moment of grace in the show; no allowance that it’s perfectly fine to like pretty things and embrace a little fairytale magic. All there is is a relentless, gorgeously produced barrage of what is wrong with old stories. We know!

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