Spectacle and social commentary have long sat side by side in the work of Ashley Banjo and the Diversity dance group collective, and Soul, their latest touring production, continues that tradition with confidence and flair. Tonight, at Liverpool’s Empire Theatre, the show blends high-energy choreography with a loose narrative thread exploring how modern life- and particularly technology- has reshaped the way we connect with one another.

Banjo, as musical director as well as the show’s creative driving force, structures Soul as a journey through the emotional rhythms of contemporary life. Hinged around a chance encounter at a train station, at times it is exuberant and celebratory; at others it pauses to reflect on the quieter moments of isolation that can exist beneath the noise of constant connection. 

The soundtrack stitches together a dynamic score that moves fluidly between genres and moods: music and movement feel tightly interwoven, with each transition propelling the show forward without lingering too long in any one style.  

Visually, the production has a confident theatrical polish. Lighting and set designer Peter Barnes creates a stage world that shifts seamlessly from expansive arena spectacle to more intimate moments of focus. Clean lighting states and clever spatial design allow the performers to form striking  imagery, whether in their renowned tightly synchronised group formations or smaller, character-led sections.  

Choreography (led by Banjo with additional work from Perri Kiely, Stevey Thompson and Lukas McFarlane) remains Diversity’s greatest strength. Precision and musicality underpin the routines, with complex ensemble sections that ripple across the stage in satisfying patterns. There’s a classic sense of playfulness, too- never losing the characteristics that made them champions on Britain’s Got Talent some seventeen years ago. Moments of visual and humour sit comfortably alongside the show’s more reflective moments.  

It must be said, an unintended irony does begin to emerge quite early on in the performance. A production that explores how our digital lives can distance us from real human connection is, at times, viewed through a sea of phone screens, with audience members filming (to varying degrees of success) large portions of the performance. It’s a minor distraction to most, but a firmer no-filming policy might have reinforced the show’s message and encouraged audiences to be more present in the moment. 

Still, when Diversity are in full flow, Soul delivers exactly what audiences hope for: technical brilliance, inventive choreography and a sense of shared energy. Thoughtful without losing its sense of spectacle, it’s a polished and entertaining evening of dance theatre. 

Soul continues for one more night at Liverpool’s Empire Theatre, further information and booking details can be found here.

Tickets received in exchange for an honest review. #AD