Grindr The Opera!, the two-act riff on the gay dating app named in the title, is billed as “the unauthorised parody”. Quite what it is parodying is sometimes unclear, but that hardly matters once the show barrels into life.
That small quibble aside, it’s one of the most gloriously filthy, sex-filled evenings you could ever wish to spend in the theatre without being exposed to actual genitalia.
So, what is Grindr The Opera!? Well, for a start, it’s not really an opera. Though there are many wonderfully operatic moments, and it’s almost entirely sung-through, with scant dialogue, the show’s 29 musical numbers and reprises propel everything along at a high-octane lick rarely seen outside Formula One.
The best comparison I could come up with is that it’s what might happen if The Rocky Horror Show collided headlong with Jerry Springer: The Opera; enjoying the melodic felicity and gothic quirkiness of the former, alongside the high-end musicality and stridently liberal outlook of the latter.
And it’s actually rather wonderful.
So, the plot – such as it is (and I’ll try not to give away too many spoilers…).
Grindr, the mythical siren of casual sex, is awakened from his slumbers and brought back to life through the medium of “glass, plastic, and wires”, becoming a smartphone application through which men can service their most carnal desires.
Personified by Christian Lunn — whose crystal-sharp vocal stylings and range reach almost as high as his heels — the character of Grindr is accompanied by two helpers-cum-henchmen: Trogorium (Latin for trough…), sung with aplomb by Oliver Cartwright, and Versipellis (Latin for shapeshifter), played by Will Loader, who also struts his stuff as dance captain and keeps everything moving along seamlessly on The Union’s tiny stage.
Then there are the four app users.
Patrick Barrett, as Devon, possesses probably the finest voice in an already strong ensemble. He plays a doctor who has known love and loss, and who decides it’s time to move on and venture back into the world of dating.
Will Joel’s Jack is the twink on the brink who wants to try everything — and the harder and sluttier, the better…
Kane Verrall’s Tom is the average guy from a “good family”, estranged from his parents and unsure whether he’s after casual flings or is ready to settle down into a long-term relationship.
Then there’s Dereck Walker, returning to the role of Don: a heavily closeted, right-wing married man who knows exactly what he wants and when he wants it, and who is willing to crush anybody in his path in order to get it — even paying for the privilege.
In many ways, Walker delivers the performance of the evening. His song of regret and self-recrimination is an emotional high point, revealing a depth in the writing that perhaps isn’t explored quite so fully in the show’s other characters.
Elsewhere, the band, under the incomparable baton of Aaron Clingham, sounds far larger than its modest size would suggest, thanks in no small part to his arrangements.
David Shields’ set is impressively gothic and satisfyingly solid-looking, while a few opening-night technical hiccups with the lighting will no doubt be ironed out as the run progresses.
Although a video designer is credited in the programme, the production relies almost entirely on live performance — and scarcely suffers for it.
After a month at The Union, the show tours to Birmingham, Manchester, Liverpool and Nottingham. Let’s hope they’re ready for what they’re about to get…
Director: William Spencer
Book, Music & Lyrics: Erik Ransom
Cast includes: Patrick Barrett, Oliver Cartwright, Will Joel, Will Loader, Christian Lunn, Kane Verrall, Dereck Walker
Until 19 July, then touring
Running time: 1 hour 48 minutes, including interval
Date seen: Friday 26 June 2026