After a wave of critically acclaimed reviews at the Edinburgh Fringe Festival, Unfortunate sailed across the UK on its first tour in 2022 before wading out again with a considerable glow-up in 2024. Now, from the murky depths of the ocean, Ursula is back—and still gloriously brash. As Disney continues to churn out live-action remakes and sanitised villain rebrands, she’s bided her time, and it feels only right that this sea witch finally gets her moment to pull a riptide on the narrative. This, however, is no gentle paddle in the shallows. Unfortunate remains a camp, cutting musical parody, saturated with earworms that’ll soon have you gripped by the tentacles. How unfortunate… 

With a book and lyrics by Robyn Grant and Daniel Foxx and direction from Grant, Ursula receives the ever-popular villain-origin treatment, but with a wink, a smirk, and a good lashing of saltwater shade. Tim Gilvin’s music gives affectionate nods to the well-loved Disney soundtrack while ensuring the score feels modern, cheeky, and unexpectedly heartfelt. The show walks a tightrope between satire and sincerity, balancing sharp parody with nostalgia and an infectious burst of self-love. This is storytelling that knows its audience inside out- those who’ve grown up loving the animated classic yet are now ready for a ruder, cruder, and more flamboyantly queer retelling. 

Stepping into the tentacles this time is Sam Buttery, whose unmistakable charisma anchors the production. Her rich vocal power and wry, knowing wit give the iconic villain a deliciously fresh dimension- equal parts diva, drag mother, and misunderstood menace. While Buttery’s vocals soar, the sound mixing occasionally overshadows the band beneath, leaving some lyrical moments slightly blurred. Even so, her stage presence is undeniable, and she leans into the character’s drag-inspired heritage with relish, honouring the legacy of Divine while adding her own stamp. 

Allie Dart continues to shine as Sebastian and a host of other roles, switching characters with ease and precision showing her versatility and elevating every scene she touches. Her razor-sharp comic timing never falters, and her exuberant rendition of Les Poissons is an uproarious highlight- chaotic, escalating, and executed with a confidence that sends the audience into waves of laughter.  

James Spence brings an earnest, slightly hapless charm to Prince Eric (and his now-infamous flute), embracing the parody with playful gusto. His performance thrives on physical comedy and exaggerated earnestness, making Eric both endearing and wonderfully ridiculous- exactly as he should be in a show like this. 

It’s not all plain sailing, however. The staging itself sometimes feels overly busy. Jasmine Swan’s set and costume design deliver colour, camp, and clever humour, but the sheer volume of set pieces occasionally restricts Melody Sinclair’s choreography. At times, performers appear boxed in, with limited space to build comedic beats or fully commit to movement sequences. A tighter, more streamlined design could allow the cast’s energy to breathe more freely. 

Adam King’s lighting design remains a standout- bold, dynamic, and richly atmospheric. His transitions between land, sea, and Ursula’s lair are seamless and often visually stunning, heightening the fantasy while grounding the comedy. 

While this production is still an unapologetic middle finger to Disney- with its f-bombs, filth, and briny humour intact- this iteration isn’t quite as tight as its previous form. Yet despite occasional sound imbalances, a few missed cues, and slightly bloated staging, Unfortunate remains a wildly fun night at the theatre, bursting with laughter, big vocals, and unapologetic camp. It’s a raucous journey that’s well worth diving into. 

Unfortunate plays at Lowry until Sunday 11th January before swimming off to The Other Palace in London. Further information and booking details can be found here.

Tickets received in exchange for a review. #AD

Photography by Mark Senior.