Edinburgh Fringe 2026

VOTE

Phoebe Perry

Genre: Feminist Theatre, Historical, Musical Theatre, Political

Venue: The Space Triplex

Festival: Edinburgh Fringe

Low Down

Review

VOTE: The Musical is an ambitious production, but ambition is matched here by the considerable ability of its young company and creative team. There is astute casting, strong vocal work, precise choreography and a score that sustains its quality throughout. Most importantly, there is a clear sense that this is a company with considerably more to come.
Phoebe Perry, at 19, is already a force to be reckoned with. This is an astounding accomplishment for any writer/director/producer. It is little wonder she has been invited to the Houses of Parliament in 2028 for the centenary celebration of women’s equal voting rights. One might suspect such prowess and success at such an early age could lead to conceit or even complacency and some measured resting on laurels, but far from it. Perry quietly watched her creation materialise before us all from her discreet tech box seat, and humbly thanked her audience and praised her young (18–23-year-old) cast and fondly acknowledged her composer and musical director (MD), Cyrus Dean. A quick chat with some cast members at the get out instantly illustrated their appreciation and admiration of their director’s work and work ethic with warm sincerity. There is highly likely to be a stratospheric path ahead, and if Perry can retain these admirable traits, the musical theatre sorority (and fraternity – oh go on then!) are all in for a treat whether casting for her or commissioning her work. Some sage advice here might be to get ahead of the game; this young woman is going to be blazing a trail too hot to grasp in the near future – much like her creation Mary Abbott!

The prelude is a harmonised rendition of “The Edge”, with only drum percussion accompaniment to open the show. This is a perfect way to clearly state where we are and when and why, before launching into the choreography and full version of the opening number, which is spot on as we burst into the piece with gusto and urgency.

There is no vocal amplification, which is no problem for the choral moments. However, in some of the early solos it was sometimes challenging to hear all the lyrics. This was a volume problem only, not a performative issue.

The Cockney prostitutes are caricatures, reminiscent of Dickensian illustrations in Punch. The actors’ portrayals remind me of Nancy and Bet as they surreptitiously manipulate the punters in the Three Cripples before bursting into “Oom-Pah-Pah”. These coquettish young ladies are perfectly pitched pretty little Sallys.

Sami Littlefair plays a deliciously despicable George, so ferociously, in fact, that there is no room for audiences to give him the grace of forgiveness because of the upbringing he and his peers will have had. We are obliged to loathe him.

Lars Nunns plays James Abbott exceptionally well, frequently displaying generous restraint in the trio,  and in other scripted moments. It feels like he may have some belts in there and is consciously not releasing them to retain balance in his scenes. Deliberate casting here, and evidence of good direction, faithfully followed.

Verity, our Suffragette leading the first marches, played by Katie Kenny, has the advantage of considerable vocal projection, particularly in her lower range. Her excellent solo leaves us in no doubt of the gravity of their case. Little wonder that Mary Abbott and her braver friends agree to join the cause after such a compelling call to action.

The blocking of the Suffragettes is repeatedly masterful. The cast’s choices are astutely appropriate, and the facial expressions are consistently expressive without exception, no-one breaks character even for a moment.

The tableaux at the end of each tightly choreographed number are strikingly composed, and held as though still looking in a dance studio mirror to ensure symmetry, each one providing a perfect poster photo op. This is thanks to the perception and visualisation of the scenes brought to life by Phoebe Perry and Izzy How. They also manage a credible march scene and fight choreography. It is as easy as it could be for us to suspend our disbelief.

Ellie Kit Jones brings us Dorothy’s torment as she is both blatantly and unintentionally rejected and cast aside by her two beaus. Her enunciation through desperation and angst is a credit to her craft, and we are treated to the precise lyrics despite facial contortion and commendable acting through song.

Daisy Bayer as Mary Abbott is one of the several standouts of this piece. Her acting is both understated and simultaneously spectacular, with a compelling voice and assured dancing with finesse in each extension. Having trained at Hurstpierpoint College, LAMDA and London College of Music, it’s easy to see where her triple-threat potential has been formed.

Asher Starr, multi-roling as Sir Albert de Rutzen, a prison warden and a judge straight out of a Dickensian manosphere and reminiscent of Mr Bumble, commands an ominous presence in each of his scenes despite his bumbling deputies, who each have a touch of a slightly more bigoted Officer Krupke. Starr clearly understands the space and persona he is tasked to occupy.

Nunns stuns again for James’ solo, which is bravely and effectively emoted with a dynamic vocal range. In the Degradation scene, Nunns confirms his powerhouse projection, bringing his vocals comfortably above the band, even without amplification. His breath control is so masterful as to be invisible.

The “Slosh It” song has the drunken debauchery it needed, but some over-enthusiasm for the ambience of this scene meant we lost a little crispness and enunciation of these purposefully precise lyrics at some moments.

The lyrics are relevant and the music is stunningly arranged. There are simply no weak tracks.

Anna, Mary’s young daughter, lacked strength and volume, but this was appropriate for her role as a young woman and for the tone set by the lyrics of this tender, pitiful duet, so this is suspected to have been intentional. Grown Anna has a very good voice, but seems on the edge of vocal strain at the start of the a cappella harmonies, deftly finding her footing as the song continues.

It is a shame that the black box, and therefore the illusion, is sometimes broken with the two curtain entrances upstage and lights backstage. This is an unfortunate foible of Fringe productions in many venues, and this company more than compensates for it, a minor challenge that they will surely overcome.

Miss this at your peril – you don’t want to be one of those who should’ve listened when they whispered!

Published August 21, 2026 by Deborah Nicholson