Frankie Goes to Bollywood – Watford Palace Theatre and Touring

Pictures: Richard Lakos

Frankie Goes to Bollywood was reviewed at Watford Palace Theatre, where it runs until 11 May 2024, and then tours until 20 July 2024.

Star rating: four stars ★ ★ ★ ★ ✩

From the first dhol drum thud to the final techno beat, Frankie Goes to Bollywood is electric throughout. This ‘billion dollar musical’ comes from Britain’s Got Bhangra makers Rifco Theatre – and boy, there’s colour.

Happy-go-lucky Frankie (Laila Zaidi) stumbles into Bollywood stardom, swapping her dead-end Milton Keynes job for silver screens and soirees in Mumbai. Thrown into fame with the help of director Prem (Navin Kundra), she navigates life-binding contracts, sleazy men, and a rivalry with self-professed Bollywood Queen Malika (Helen K Wint).

Spat out by the paparazzi, the mask begins to falter, as Frankie comes to terms with the realities of being a star. So, with the help of Prem, cousin Goldy (Katie Stasi) and new-found friend Malika, she creates her own Bollywood film, which celebrates women and champions friendships. The title? Frankie Goes to Bollywood, of course.

Lively, bright and endorphin-inducing, this musical (concept and book by Pravesh Kumar, who also directs) would revive you from the deepest sulk. Niraj Chag and Tasha Taylor Johnson’s rich, full-bodied score is diverse and intricate, weaving between moments of classical Indian song and cheesy Western pop. The standout number is ‘Shampoo King’ – a hilarious yet honest solo from Raju King (Shakil Hussain) about the realities of being a Bollywood king. While vocal prowess varies throughout the cast, the ensemble numbers are particularly striking, brought alive by the live band onstage.

Zaidi is an endearing and energetic lead, albeit a little excitable. The plot moves between moments of elation and depression, but she effortlessly pivots between the two. While Kundra remains smooth and starry-eyed throughout, you can’t help falling for his twinkling, boy band charm, which perfectly balances Hussain’s brattish disposition. The standout performance, though, is Stasi, who has energy in spades, soaring through witty lines and belting out ballads.

Quick, zippy scenes and plenty of colour keep this musical engaging throughout. The staging is masterful, as scenes are unravelled in seconds with the help of a few props. This musical perfectly balances flash with substance and uses glitzy props to elevate clever writing, rather than rely on them. Phillip Gladwell’s lighting design brings a cornucopia of colour to the stage, without looking reminiscent of flashy club lights. And while Andy Kumar’s costumes have a tough job cutting through the cacophony, the musical’s bejewelled wardrobe is awe-inspiring.

Scintillating sets, witty writing and lively scores are at the beating heart of this musical. This tale of falling into fame is integrally cliché, but you can’t help but indulge. Touching upon loss, success and sisterhood, Frankie Goes to Bollywood is a story about the dangers of glorifying fame and the realities of success.

Mia Lyndon