No More Bull taps into the love of subverting myths, but without enough reimagination to really follow through on its promise.
From the second the whole cast take to the stage, it’s clear there’s talent to be found. Simple but effective costuming is paired with impressive vocals from the whole cast, even if some solo moments were hard to hear over the backing vocals. That’s a genuine shame with so much refreshing skill on stage at once.
There are standout vocals from the princesses, with perfectly matched harmonies that play and bounce off one another in a delightful reflection of their on-stage relationship. Masterfully subtle choices from the ensemble cast result in a clever layering of ominous warnings, promising a twist that’s sure to impress.
However, where the depth of the performances begs for rich characters and a clever plot to match, the plot leaves something to be desired. In an era where myths are often retold, you’re left wanting for a real twist that shines a new light on a well-trodden tale.
Both Midas and Theseus are caricatures of a Bad Guy and a Good Guy, but in a way that’s not truly challenged on stage. There’s some questioning of heroic idiocy and machismo but it’s not followed through enough for a satisfying ending. No More Bull could have benefitted from an extra five minutes to really land the final moments, or perhaps with less time setting the scene at the beginning.
It feels like some of the most interesting characters – the minotaur, the queen – weren’t given enough time to really breathe. Instead, we sit through villain monologues that repeat ones that came before. This leaves you confused as to the motivations of central characters, with many switching sides with little explanation as to why.
Questions about destiny and fate are raised, but not answered to a satisfying extent. While No More Bull is a fun watch, it promises more depth than it ultimately delivers.
