The “New British Musical” Why Would We Care? was given a reading at London’s Other Palace Studio in July 2025. This is its first staging and, to be frank, still feels like work-in-progress, though there is much to commend it. Music, lyrics and book are by John-Michael Mahoney, whose first musical, Sin, was seen in a few London fringe venues a few years ago.
The rather convoluted plot concerns Pearl (Taylor Quinnell) and Theodore (Joseph Dennington) who “are hated by the people in their town. When they are invited to join a secluded community run by two controversial visionaries their lives are changed forever… you would think this would be their sanctuary. However… sinister intentions… rear their head… a fight for survival ensues…“.
Unusually, this is a serious musical, and, at the start, some members of the audience did not realise this, especially as the simplistic choreography (Alice Carlile) appeared unnecessary.
The music is composed in a twenty-first century popular style, with which one is very familiar from other current musicals, and there are some interesting songs, especially in Act One, where the highly talented Camile Reid (as Lillie) has a lovely solo (The Chance), alone on stage, unfortunately ultimately spoiled by the remainder of the cast entering and singing “Ah” as an accompaniment which the number does not need! Simpler is often better!
Taylor Quinnell also has some effective musical moments which she makes the most of, even if the voice is inclined to spread at the top of her range. Here is someone to look out for in the future.
Others who impress include Will Byrne in the role of Cecil, Riain Cash as Rufus, Alex Webster as Clara, and, especially, Gaby Coleman as Marion, but it is unclear why Houston McDowall, and occasionally some of the others, use American accents, when the predominant manner of speaking is English!
It is a shame that, in James Connor’s production, the entire stage at the Union Theatre has to be used, with no set to hide entrances and exits, as this means that characters who should not be meeting need to enter and exit up stage right at the same time, ignoring each other. In addition, the acting area seems too large for much of the time, and almost begs to be confined by a set so that the audience’s attention is able to be more focussed. Ben Sayers’ lighting design helps in no small way, but it is unfortunate that the large table up stage left could not be lit at all as it is used a great deal! Tom Jervis’ sound design favours the accompaniment in the first few numbers but any problems are soon ironed out, except for the fact that everything is inclined to sound “electronic” rather than natural.
It is evident that rehearsal time has been at a premium as the pace is rather slow at times, long gaps seeming to occur between entrances and exits and line cues often being slow, but I am sure that both will improve during the course of the run.
If you enjoy seeing “work in progress” (I remember seeing the early incarnation of “Operation Mincemeat” and look what happened to that!) then Why Would We Care? has something for you.
Review by John Groves
Pearl and Theodore have always been outsiders, scorned by their hometown and desperate for a fresh start. When they’re invited to journey Wesstleborough, an exclusive and idyllic community run by two visionary leaders, it seems like their prayers have been answered. Perfect streets, smiling neighbours, and a promise of privacy beyond imagination; what could go wrong?
But behind the pristine façades and polite smiles, the town’s true nature begins to show. Each citizen has a role to play, every action is watched, and even the medicine that keeps them “healthy” hides a deadly secret. As the pressure mounts, Pearl is forced to choose between her own safety and the truth, sparking a gripping fight for survival that pits morality against instinct, love against loyalty, and perfection against humanity itself.
Darkly atmospheric, emotionally charged, hauntingly humorous and brimming with rich music, Why Would We Care? is a bold new musical about power, privacy, and the price of pretending everything is perfect.
Pearl – Taylor Quinnell
Theodore – Joseph Dennington
Marion – Gaby Coleman
Cecil – Will Byrne
Rufus – Riain Cash
Lillie – Camile Reid
Clara – Alex Webster
Arthur – Houston McDowall
Music and Lyrics – John-Michael Mohoney
Director – James Connor
Choreographer – Alice Carlile
Sound Operator – Tom Jervis
Lighting Designer – Ben Sayers
WHY WOULD WE CARE?
Union Theatre
26 to 31 January 2026
