With book and lyrics by Evie Press, the story encompasses biblical references, commentary on the medieval church, and gives more than a nod to the social maelstrom of current times. Evie Atkin’s music reflects this in its use of religious chanting and tones of church organs, and especially through its use of electronic dance music, with its strong beat and pulsating rhythm.

The decision to use EDM to express the frenzy of the dancing plague, as the outbreak has been called, is a masterstroke. In performance, it gave carte blanche to the company’s musicians and dancers to unleash a contagious energy and a rebellious fervour. It allowed them to show not only the fear that the mania must have bred in medieval authorities of the time, but also the way in which dance spaces today, from raves to festivals, are seen as threatening by some.

Performers and musicians alike were strong. There were some lovely voices in the company, with good projection and articulation. Effective use was made of the stage, and the frenzied dance scenes were a mesmerizing watch.

Moments of dramatic tension were handled well, by both musicians and performers. Staging allowed for striking use of back lighting which was particularly effective in dance scenes, whilst subdued lighting at times added to the atmosphere. Costumes reflected a blend of medieval and contemporary, with trainers and Converse the order of the day for footwear.

Sometimes, the volume of the instruments drowned out singing voices, and articulation of songs by the full cast was not as clear as solo voices. Transition between scenes was not always smooth, but overall there was a pace to the production, the story flowed and the narrative was coherent. The corruption of the clergy came through clearly, whilst the rejection of their new self-proclaimed leader, who promised change, was a nice touch with a contemporary note to it.

British Youth Music Theatre’s mission is to create opportunities for young people from all backgrounds to develop theatre skills and to enhance their wellbeing through the making of original music theatre. There is a lot of talent within the company, and it is clearly willing to take on challenging material and to support young people to throw their all into it. As a provider of pathways into the industry for future theatre makers, it looks set to make its mark.

Choreomania was directed by Denzel Westley-Sanderson. The choreographer was Myles Brown. Set and costumes were designed by Amanda Mascarenhas.