Bliss musical review: Nuanced princesses
With West End-worthy vocals and a soaring score, traditional moulds for fairytale heroines are shattered in this dazzling musical debut
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From tender ballads to hip-hop infused beats, Bliss proves a genre-defying success, backed by powerhouse vocals from its four leads. Resisting the empty-headed conformity of Disney heroines, the show gives its princesses nuance and individuality. While attempts to subvert these tropes can feel self-congratulatory and patronising, Bliss goes further, questioning how princesses are expected to appear and behave. This comedic self-awareness keeps its critique from becoming preachy, while the dialogue remains deliciously witty. At times, this attention to each princess’ character development fragments the narrative. Racing from one character discovering that becoming the perfect princess leaves her unfulfilled to another realising she does not always need to put on a tough front, this rapid pacing leaves the audience scrambling to keep up.
Despite all that, the show leaps from number to number with seamless choreography and bedazzled Bridgerton-esque costumes, pulling the audience into its orbit. It’s most hilarious in the prince’s pop number, where an excess of back-up dancers sprawl around him while narcissistic lyrics poke fun at his inflated ego. Uprisings against a patriarchal fairy godfather and male royals stepping aside to let the princesses save the day make Bliss an enjoyably subversive and thoroughly entertaining spectacle.
Bliss, Pleasance Courtyard, until 31 August, 1pm; picture: Mihaela Bodlovic.