Review | The Battle | Manchester Opera House | 17 March 2026
- 9 hours ago
- 2 min read
On paper, there is something undeniably theatrical about the infamous 1995 chart battle between Oasis and Blur. It should make for a truly electric production, however this new play misses the grit which could have made it unmissable.
The Battle avoids the obvious jukebox musical format, a choice that initially feels wise. This could have allowed for a meatier narrative to take centre stage, however the uneven script lacks the depth to work as well as it could as a standalone play. Snippets of iconic tracks are teased, making the audience long for a stronger reminder of the music that shaped the bands careers. When a late, unexpected musical moment arrives, it does nothing to really show who either band were. Instead, it exists purely as a payoff to a recurrent gag, in a moment of full-on surrealism.
It is this surreal element at the show’s finale, that will ultimately split audience opinion. Whilst much of the show sits in the realm of realism, this outrageous switch perhaps exists to help demonstrate just how out of control this chart battle became. This however could have been better achieved with sharper writing leading up to this. It should be commended that the creatives took such a brave risk, in a time where most would have played it safe. Although the jury is out on whether this worked in practice.
More jarring is the script’s reliance on offensive language and the excessive use of homophobic slurs. Whilst the 1995 setting may justify an element of the latter in terms of authenticity, the frequency and casualness is of the slurs feels wildly unnecessary and uncomfortable. It didn’t add anything to the piece and ultimately risks alienating a portion of its audience. Likewise, the liberal overuse of crude language begins to feel less like it’s bringing you into the story, and more like a distraction from the writing.
Visually, the functional set places a heavy burden on the audience’s imagination to fill in the gaps. Combined with the distracting, manual shifting of scenery by the ensemble, it doesn’t feel like a show that is ready for the west end stage, as alluded to in the marketing. More effective however are the video interludes, which inject moments of nostalgia that transport us back to the Britpop era.
The strongest element is the cast, who do their best with the available material. In a script that heavily replies on humour, it would be easy for these recognisable figures to fall into parody. However, director Matthew Dunster ensures that each character remains believable without ever falling into the realm of caricature. It is just a shame the cast aren’t given a stronger script to bring to life.
Ultimately, The Battle feels like a great concept that never fully realises its potential. In its current form, it isn’t clear who this show is for, with just enough nostalgia to get by but not enough substance to find its audience.
The Battle plays at Manchester Opera House until Saturday 21 March 2026.
Note: My ticket was gifted in exchange for a review. This review is based on my honest opinion alone and is without influence.
