When Milton wanted to explore the nature of evil, he wrote Paradise Lost. For the Fringe, its equivalent is a lazy musical that celebrates the rise of the tech-nerd, making Bill Gates and Steve Jobs the romantic heroes of a generic show which races through the two men’s ascent to power and completely ignores the consequences of their success. The music, of course, is knocked-out and bland (a pastiche of tango and gospel numbers, a couple of rap interludes), revealing how this show has no ambitions beyond pleasing a Fringe audience.

Without memorable tunes, it relies on easy jokes and singers commenting ironically on their role in the musical; or holding a long note to impress; or limited choreographic routines. It is completely formulaic: take a popular topic, get well-trained, effective triple threats (who do their work well despite the atrocious material) and buy a rhyming dictionary. 

Perhaps more disturbing is the shallowness of plot and characterisation; although the social influence of Gates and Jobs is complex, one of them prevented free access to a covid vaccine and the other was abusive to his staff and family. Their domination of the computing world is recast as a jolly romp, their loose practices reduced to a skit, and the final redemptive ending (in which Gates proposes solutions to the whole world’s problems) is trite, dishonest and theatrically unspectacular. A cheeky pop musical may not be the place to address the world’s problems, but this feels like a pabulum that hides those troubles with a stupid grin. 

Nerds, Underbelly Bristo Square, until 25 August, 12.30pm.