(L-R) Ivano Turco, Grace Towning, Matt Corner and Cole Dennis in Public – The Musical at Curve Leicester. Picture: Mark Senior
Public – The Musical continues at Curve Leicester until 13 June 2026.
Star rating: four stars ★ ★ ★ ★ ✩
Just when you think you’ve seen every possible idea for a musical, along comes one set in a public toilet, but don’t let that put you off. Created by the collective Stroud and Notes, Public – The Musical began life at VAULT Festival in 2023, where it won the Origins Award before enjoying a sell-out Edinburgh Festival Fringe run and collecting the prestigious Charlie Hartill Award.
Following that success, the musical has now arrived at Curve Leicester for a fully staged production, bringing with it a sharp contemporary look at gender identity, sexuality and masculinity, and exploring the theme of connection in the most unlikely of places.
The story centres on four strangers who find themselves unexpectedly locked overnight inside a gender-neutral public toilet. There is Laura (Cole Dennis), a people-pleaser lacking confidence and travelling towards a life-changing personal milestone; Andrew (Matt Corner), an abrasive city banker whose confidence often masks deeper insecurities; Zo (Grace Towning), a passionate activist trying too hard to fight on others’ behalf; and Finley (Ivano Turco), an anxious young man carrying more emotional baggage than he initially reveals.
Forced together in an increasingly claustrophobic situation and with no sign of help arriving any time soon, the quartet gradually moves beyond first impressions as conversations deepen and the characters reveal more of who they really are. What begins as an inconvenience evolves into a night of unexpected revelations, unlikely friendships and personal reflection.
At its heart, Public is a musical about connection. The writers – Hannah Sands (also director), Kyla (also composer and co-orchestrator) and Natalie Stroud (also choreographer) – use the unusual setting as a microcosm of modern society, bringing together individuals who would rarely occupy the same space, let alone engage in meaningful conversation. The characters do take a while to settle in, with the first 20 minutes feeling a little awkward. A bit more fleshing out is required to make the interactions and dialogue feel more authentic, but this improves as it goes along and soon gels into a cohesive whole.
Themes of identity, belonging, allyship and empathy run throughout, but they are explored with warmth rather than preachy moralising. The show asks audiences to consider how assumptions shape our interactions and how genuine understanding often emerges from uncomfortable situations. There is also an undercurrent of hopefulness that feels particularly timely, and while the characters frequently clash over differing perspectives, the musical remains firmly invested in the idea that dialogue and compassion can bridge even significant divides.
The score blends contemporary pop, rock and musical theatre influences to create a strong impression, especially for a new musical. The songs feel accessible without becoming generic and demonstrate a strong understanding of character voice, allowing each number to reveal emotional truths and fears. Upbeat numbers and introspective ballads both work equally well, with beautifully melded harmonies from the quartet proving especially effective. The group numbers showcase the cast’s vocal blend beautifully, creating moments of genuine emotional lift, and the lyrics also strike a nice balance between humour and sincerity.
Amy Jane Cook’s remarkable set genuinely feels like an actual public convenience and has been well thought out. Detailed, realistic design elements establish the setting immediately, while clever transformations allow the space to expand beyond its physical limitations during musical sequences. Katy Morrison’s lighting design adds to this to create the claustrophobic atmosphere required, while also shifting effortlessly between gritty realism and theatrical energy when needed. Neon-infused moments inject energy into the larger ensemble numbers, while more intimate scenes benefit from subtle and carefully judged illumination.
Being a four-hander, the cast members need to share a tight chemistry and bounce off each other with ease, which these performers deliver in spades. Dennis brings warmth and authenticity to Laura, creating a ‘people-pleasing’ character whose underlying uncertainty feels deeply relatable. Corner skilfully navigates Andrew’s more abrasive qualities, revealing vulnerability beneath the bravado and keeping him on the right side of likeable.
Similarly Zo could be hugely irritating in the wrong hands, but Towning injects energy and humour into every scene while avoiding caricature. Meanwhile, Turco gives perhaps the most emotionally affecting performance as Finley, capturing anxiety and tenderness with great sensitivity. Vocally, they are all exceptional, delivering the group numbers and their own individual moments with apparent ease.
Public may be set within the confines of a public toilet, but its ambitions extend far beyond its unconventional location. Combining a strong contemporary score, thoughtful themes and a quartet of compelling performances, the musical offers a refreshingly modern perspective on community and human connection.
The show asks audiences to try to understand people we believe to be different to us, for however briefly our lives intersect, which can only be a positive thing. Funny, moving and unexpectedly uplifting, it’s clear why Public has already attracted such enthusiastic support, and hopefully its journey will continue.
Rob Bartley
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