The Garrick Theatre
Why Am I So Single? is the much anticipated follow up by Toby Marlow and Lucy Moss to their global phenomenon Six (or should that be SIX?). It arrived at the Garrick Theatre to slightly mixed reviews. All the critics agreed that it was musically strong- perhaps even better than Six– but there was disagreement about the story. Basically, the authors have looked at their own love lives and riffed on various aspects of dating, some light-hearted, some serious, in a not always coherent plot. Judging by the various reviewers’ reactions, it may be that this musical will appeal more to a younger generation (Generation Z?) who have had similar experiences. The stars Leesa Tulley and Jo Foster were widely praised.
[Links to full reviews are included but a number are behind paywalls and therefore may not be accessible]
Sarah Crompton at WhatsOnStage (5★) summed up, it’s ‘a fabulous show about two writers who are best friends and are recognisably you, trying to write a successful hit musical, while agonising about their unhappy love lives.’ She was struck by the way ‘its wry tone and its vitality is underpinned by a truthful portrait of just how difficult it is to find love in these modern, confusing times – and by the honesty and the relationship at its heart.’ She concluded, ‘Its hymn to the pleasure of friendship is what tethers its exuberance to the ground and makes it so moving as well as so funny. There are moments when it could be pulled back, and it is marginally long, but once you give it your heart, it holds you.’
Isobel Lewis for the i (4★) was fully on board: ‘Why Am I So Single? has all the conventional trappings of a classic musical: an earworm-stuffed soundtrack, pithy script, sharp choreography from Ellen Kane and dynamic central performances. But it’s also a show that constantly subverts expectations, sneaking in complex ideas about identity, nostalgia and grief alongside the tongue-in-cheek “men are trash” rants.’
The Financial Times’ Sarah Hemming (4★) wrote, ‘It’s wickedly self-referential and completely daft’, and said, ‘the show has so much effervescent joy, and is delivered with such energy and heart by Foster, Tulley and the terrific ensemble, that it’s irresistible’.
The Stage’s Holly O’Mahony (4★) called it ‘a whip-smart musical comedy’, saying ‘The show’s deft brilliance is in the lyrics of its songs. Eight Dates, about the brutal ghostings and last-minute cancellations rife in online dating, bottles the phenomenon superbly’.
The Standard’s Nick Curtis (4★) compared it to Six and found it ‘just as quirky and surprising and almost as good.’ He decided, ‘This zesty, in-jokey, crackerjack entertainment proves they’re certainly not one-hit wonders.’
Marianka Swain for LondonTheatre (4★), calling it a ‘more ambitious but still blisteringly entertaining second collaboration’, said it was, ‘a production packed with knowing winks to the audience: fourth-wall-breaking asides, quips about the structure of the show itself, and, happily for musical theatre geeks, tons of stagey references.’
Nancy Durrant writing for The Observer (4★) called it ‘A joy’ and said, ‘The writing is pin-sharp; stuffed with pop culture references, from Tracey Emin’s bed to LinkedIn, it pulls you up repeatedly with its intelligence and wit as Nancy (Leesa Tulley, exuding warmth) and Oliver (Jo Foster, hugely charismatic, with an astonishing voice), try to work out what’s wrong with them’.
Not all the veteran critics were alienated. The Times’ Clive Davis (4★) said, ‘there’s so much inventiveness on display This show is a laugh-a-minute feast.’
Laura Rutkowski for the Radio Times (4★) wrote,’Yes, there are the big, outrageous musical numbers full of hilarious double entendres that make you want to just get up there and dance right alongside the cast, but it also touches upon queerness, shame, rejection, and loss in ways that feel representative and not tokenistic. Such was her enthusiasm that she declared, ‘I defy anyone not to have a massively enjoyable time at this musical. It’s uplifting, hilarious, and creative’. A few critics took up her challenge…
Arifa Akbar in The Guardian (3★) loved the score. ‘Moss and Marlow are without doubt the most talented musical songwriters out there,’ she declared. ‘What elevates the production is the score: every song is a powerhouse’. She was less keen on the story: ‘the first half about dating woes feels old hat as Bridget Jones, in spirit.‘ Taking the opposite view to The Stage’s reviewer, she found ‘The power of the drama hits in the second half as the characters become more vulnerable and intimate’.
‘Sweeter and frothier than pink prosecco, Toby Marlow and Lucy Moss’s new musical is squarely aimed at the girls, gays and theys,’ said Alice Saville in The Independent (3★). ‘Marlow and Moss are talents to be reckoned with, when they find a story that’s really worth telling.’ She concluded, ‘The first half erupts like a shaken bottle of prosecco, fizzing and flowing with astute hit after hit. And while the show flattens in the second, it’s still, quite probably, the defining musical of the dating-app age.’
Time Outs’ Andrjez Lukowski (3★) described it as ‘an endearingly quirky but preposterously self-indulgent parade of set-piece musical numbers with about three minutes of actual story in between.’ His review ended: ‘Good tunes, good cheer and good vibes from Moss’s larky, energetic direction – that makes extremely imaginative use of the ensemble – mean it all goes down quite agreeably. But ultimately Moss and Marlow’s rambling tribute to their own friendship seems unlikely to have the staying power of its predecessor: a curio, not a classic.
Gary Naylor on The Arts Desk (3★) explored the target audience: ‘Some will ache with recognition, as Oliver and Nancy dig deeper in deeper into their own psyches… Others will wonder how these two twenty-somethings can afford their lifestyles, why exactly Oliver! is their favourite musical and why they stick to amateur therapy when there are so many professionals out there.’
Dominic Maxwell in The Sunday Times (2★) offered the most damning review: ‘A bit of satire about modern dating mores gets us so far but beyond that the duo are soon staring inwards and repeating themselves. With jokes, with intelligence, with tunes. All of which would be enough for a one-act trifle, but stretches patience over a show that’s almost as long as Les Misérables.’
Variety doesn’t award stars but its reviewer David Benedict called it ‘fatally slack’, and said, ‘the target Gen-Z audience … might decide to go to a West End musical to see their lives reflected. But where “Six” long ago crossed over from the youth market to ticket-buyers of all ages, “Why Am I So Single?” riskily lacks appeal beyond its target audience.’
Critics’ Average Rating 3.6★
Value rating 40 (Value rating is the Average Critic Rating divided by the typical ticket price.)
Why Am I So Single? can be seen at the Garrick Theatre until 13 February 2025. Buy tickets direct here.
If you’ve seen Why Am I So Single? at the Garrick Theatre, please add your review and rating below
Fell in love with this sparkly glitterball of a musical with its incredible cast from the outset and loved every minute thereafter.
Romping animated flat scenes with real live curtains, flowing gold prosecco, a bonkers showdown with a giant bespectacled bee 🐝, the melting sadness of lost jumper and that missed flight to Paris, all make this is a MUST SEE. Tell all your friends and get tickets.
Omg what a show, I loved the musical 6 so it was no wonder that I wanted to see the writers new show, ‘Why am I so single’. I’ve not laughed as much in a long time, the creative writing and songs were a joy to listen to.
That said, there was a clear message about love, gender and sexuality.
I’m sad to hear that this show is being pulled mid-January due to lack of audience attendance on certain days moving forward. I can only pray that this show is revisited at some point in the future so that many people like me get the chance to experience this most talented entertaining creative performance/show.
Thanks for the experience it was amazing 🤩