Cruel Intentions: The 90s Musical was my favourite ‘off West End’ show last year, and without a doubt the best jukebox musical I have ever seen. With just a three-month run at The Other Palace in London, not nearly enough people had the chance to see it, so you can imagine my excitement when I heard that they were taking the show on a UK tour! If you don’t know the story or background, check out my review of the original production here.

I came to see the tour at the New Wimbledon Theatre, and although I love the show, I was a little anxious- the original production was so good, would the new cast (entirely changed except for Abbie Budden as Annette) measure up?

Teddy Roosevelt once said, “Comparison is the thief of joy,” and while I wholeheartedly agree and try to judge each production on its own merits, it is very hard not to compare the touring production with the London one. So, apologies in advance for doing just that!

The show opened with Sebastian and Kathryn introducing themselves and saying, “Don’t fall in love – trust us, we know.” This struck me as odd and out of character for them. This immediate breaking of the fourth wall (new for the tour), followed by a big chorus number of Ricky Martin’s Livin’ La Vida Loca – quite the change from Every You and Every Me by Placebo, which opens both the film and the London production – was the first of several changes that seemed designed to make the show more appealing to mainstream audiences who maybe didn’t grow up with the film. The opening number is entertaining and energetic, but it gives a very different feel to the start of the show. They also noticeably changed one of the lyrics – “her skin’s the color of mocha” became “her hair’s the color of mocha.” I can only assume this was done to make the song about Kathryn, but it begged the question – why are they singing about Kathryn at this moment?

Nic Myers, playing the queen of sexual manipulation herself, Kathryn Merteuil, had big shoes to fill, taking over from Rhianne-Louise McCaulsky, who slayed in the London production. At first, I was unsure how I felt – she seemed to rush some of her lines. In her first solo, Genie in a Bottle, she swallowed the funniest line – it barely got a reaction from the audience when she said, “You can put it anywhere…” However, her performance improved throughout the show, and by the time she was singing Bitch by Meredith Brooks, running the whole gamut of emotion as she did, I was a huge fan.

Will Callan, stepping into the role of Sebastian Valmont, faced the formidable task of following Daniel Bravo’s memorable performance from the London production. Initially, I had reservations about Callan’s portrayal, particularly during comedic scenes. A specific directorial choice by Jonathan O’Boyle stood out: during Sebastian’s introduction to Cecile Caldwell, the subtle innuendo from the film (and the London production), “How are things down under? Blossoming, I hope,” was replaced with a blatant action where Sebastian crouched to look up Cecile’s skirt. This shift from subtlety to crude behaviour felt out of character and seemed to underestimate the audience’s ability to grasp nuanced humour.

However, as the narrative progressed and Sebastian’s relationship with Annette deepened, Callan’s strengths as a dramatic actor became evident. His chemistry with both Kathryn and Annette was palpable, adding layers to the intricate dynamics of the trio. When he sang Iris by the Goo Goo Dolls, his pain and love were so apparent that the earlier comedic awkwardness was all but forgotten.

Abbie Budden, reprising her role as Annette Hargrove, once again delivered a stellar performance. Her rendition of I’m Just a Girl was both vocally impressive and emotionally resonant. The choreography during this number was particularly noteworthy, enhancing the storytelling without overshadowing Budden’s vocal skill. Surprisingly, a line delivered with deadpan humour, referring to her supposed boyfriend with, “He’s great. I really miss him,” didn’t elicit the expected audience reaction, though I found it brilliantly funny.

Lucy Carter, taking on the role of Cecile Caldwell, was absolutely hilarious. Having loved Rose Galbraith in the London production, I was prepared for disappointment, but I needn’t have been. When she sang I’ll Make Love to You, we were practically rolling in the aisles. Her comedic timing, wide-eyed innocence, and sheer commitment to the role made Cecile one of the biggest scene-stealers of the show.

A special shoutout to Luke Conner Hall and Joe Simmons, playing Blaine and Gregory. They perform the one British song that was added especially for the London production and has remained for the tour. It’s a classic, and their performance was *chef’s kiss*. Bravo.

Polly Sullivan’s set deserves a mention as well. It’s amazing how they create these touring sets, and I thought I’d miss the revolve from the London production, but I really didn’t. The staging was cleverly designed, fitting perfectly into the space but keeping the same basic structure of the London set. 

Despite a few directorial missteps early on, this show remains an absolute must-see. Cruel Intentions: The ’90s Musical is still the best jukebox musical I have ever seen, and nothing in this tour has changed that. With these stellar performances coming to a theatre near you very soon, grab a few friends and have yourselves a ‘90s night out at the theatre. Just make sure, whatever you do, don’t fall in love!

Cruel Intentions: The 90s Musical is on tour until the 28th June 2025. To book to see it at a theatre near you, visit: www.cruelmusical.co.uk

Words Nick Barr

Photography Pamela Raith