Based on Brian Helgeland’s hit 2001 film, ‘A Knight’s Tale: The Musical’ is the next in a line of new musicals to canter into Manchester for its world premiere, part of the ‘Manchester Gets it First’ long running pledge from ATG. But does it charge into battle or does it simply flatulate into just another movie to musical adaptation that appeases the masses? It’s no secret that these shows are two-a-penny, now- and throw in the fact that what we are served here is a jukebox musical atop of this- how does one set themselves apart from the rest? 

Well, it would appear that this is achieved through toilet-humour, a back-catalogue of bangers from every wedding playlist this side of 1995 and flying horses. If Baz Luhrmann directed a medieval banquet after binge-watching Strictly Come Dancing and rifling through Now That’s What I Call a Wedding Disco Vol. 17, the result might resemble A Knight’s Tale: The Musical. Brash, bold, knowingly ridiculous and occasionally brilliant, this is a show that leans into its own absurdity with such conviction, it’s hard not to be swept along. 

The story: It’s 1372(ish) and we follow William Thatcher (Andrew Coshan), a humble squire with delusions of knighthood, who decides that the death of his boss is the perfect time to launch a career in full-contact sport—under a fake name, obviously. With a hype man named Chaucer (yes, that Chaucer- played by Max Bennett), a blacksmith come fashion designer (expertly crafted by Emily Benjamin), and more pop songs than you can shake a lance at, William battles the snobbery of the nobility, woos his love, and tries not to get arrested for impersonating the 14th-century equivalent of a pro athlete. Frankly, it’s medieval mayhem.  

West End favourite, Oliver Tompsett makes a triumphant return to the Opera House stage as the villain of the piece- super snob, Count Adhemar. Perhaps the highlight of the entire show is his delivery of a powerfully soaring rendition of Adele’s Rolling in the Deep that is as unexpected as it is affecting. As Kate the Blacksmith, Emily Benjamin is pure star power – magnetic, commanding and endlessly watchable- whilst Giles Taylor creates a medley of superb characterisation in the form of The Bishop, Father and Rouen King of Arms. 

The soundtrack is eclectic to say the least. From S Club’s synonymous ‘Reach’ to Chumbawamba’s 1997 hit, Tubthumping- this show genuinely has them all. Do the songs tie into the narrative and help shift it along? Kind of. Does this always matter? Probably not- it simply doesn’t take itself seriously enough to warrant such analysis. Some of the tunes could be snappier; a little ruthless editing wouldn’t hurt as some songs linger far too long, and repetition dulls the impact. There are moments it works, and moments you wish it wouldn’t… but clever arrangements and orchestration manage to rescue even the most overplayed hits from total banality. 

Matt Cole’s choreography is a clear strength. The cast hit their marks with punchy, muscular movement that does more than fill space – it helps tell the story as shapes are thrown with precision, purpose and flair. 

Matt Peploe’s Sound Design is an amplified wonder; it takes the songs to anthemic levels whilst also retaining space for those small moments which add to the dimensions being created on stage- the clang of sword against metal and a perfectly timed chicken cluck are tiny details which add such depth.  

Howard Hudson’s Lighting Design deserves its own round of applause. Think less courtly romance, more medieval rock concert – dynamic, dramatic and impeccably timed. It elevates the action and works in complete artistic unison with Tom Rogers’ tiered Set Design- rich with colour and texture as popular Costume Designer, Gabriella Slade’s glam-rock costumes blend Renaissance with rave.  

The whole thing teeters on the edge of panto – knowingly camp, proudly clichéd – and I’m under the impression that it’s all part of its charm. Ultimately, A Knight’s Tale gallops along with infectious energy. It’s certainly not subtle- but it’s an unashamedly entertaining quest. 

Playing at Manchester’s Opera House until Saturday 10th May, further information and booking can be found here.

Tickets gifted in exchange for an honest review.

Photography by Johan Persson.