The raucous comedy dance sensation Derrière on a G String returns this spring, bringing its playful blend of physical comedy and classical music to the King’s Head Theatre. Star performer Sammy Moore steps back into the world of mischievous sketches and high‑energy choreography.
Previously staged at Sadler’s Wells, the show has built a reputation for its unpredictable humour and bold visual storytelling. Moore shares insights into the creative process and what audiences can expect from this uniquely cheeky production.
Derrière on a G String runs from 6 May to 7 June 2026 at the King’s Head Theatre. Tickets are available here
You’re starring in Derrière on a G String at the King’s Head Theatre, what can you tell us about the show?
Derrière on a G String is a show unlike anything you’ve seen before. It doesn’t fit into the normal theatre boxes that we have all come to know.
This of course poses some challenges, but at the same time means it’s an entirely unique and genuinely new experience. It’s chaotic, it’s sexy, it’s surprising, it’s fast‑paced and above all else, a good ol’ laugh.
What first drew you to this production and to returning to Derrière on a G String after its previous staging?
I went to school with Alfie (choreographer and director) and knew from training together that his creative mind is simply unlike anyone else.
The way Alfie tells stories through his choreography is, in my humble opinion, as brilliant as Matthew Bourne. His comedy ideas make this show one that every performer wants to be in, because you just know the audience are going to love it.
That’s why I did it the first time, and very much the reason I’m re-joining.
The show blends dance, physical comedy and classical music — how do you approach preparing for something so genre‑blending?
I think you just have to throw yourself in entirely and trust there is nothing you can do that will be considered “too much”.
The more silly you are, the more exaggerated you are, the more you help the physicality, comedy and music all blend together.
It sounds like it shouldn’t work, and that’s the very reason it does. Trust the ideas, trust the process and go all out.
The company features performers with a wide range of backgrounds, from world champion tap dancers to West End alumni. What has it been like collaborating with this ensemble?
Pure joy. There is nothing better than being in a room with people who are all on the same page and who bring unbelievable talent.
Everyone wants the show to be a huge success, and everyone completely understands the vibe of the show, which means they know exactly what to offer.
One of the huge benefits of rehearsing a comedy show is the fun you have in the rehearsal room.
Alfred Taylor Gaunt’s direction and choreography are central to the show’s style. What has the rehearsal process been like under their leadership?
Rehearsals with Alfie are brilliant because he works very collaboratively, so we all get to throw out ideas, improvise and see what works.
It’s amazing to see his visions come to life. He works alone, yet manages to direct six completely different tracks, which is incredibly difficult.
Alfie and I know the show extremely well at this point, so it’s been a lot of fun finding new moments and comedy beats that we hadn’t found before.
We also have some very exciting, brand new, never‑seen‑before pieces which we can’t wait for audiences to watch.
What would you say to anyone thinking of booking to see Derrière on a G String?
It’s 75 minutes, no interval, chaotic, hilarious and unlike anything you’ve seen before.
You are absolutely in for a treat, so prepare to cackle.
