Why Am I So Single? is the new show from Toby Marlow and Lucy Moss! Why do those names sound so familiar….? Well, have you heard of a little show called SIX?

The rock-feminist-historical (HERstorical) musical about Henry VIII’s wives that’s been blowing minds in the West End since 2019 and dazzling Broadway since 2021! With multiple worldwide productions and tours, it has scooped up 2 Tony Awards, was nominated for a Grammy, and has a fan base of thousands called the Queendom. So when I heard that they’d written a new show, and that Moss was directing it herself, I was more than a little bit excited!!

Why Am I So Single? (WAISS) is about two best friends, non-binary Oliver (he/they – played with flair by Jo Foster) and cis-het Nancy (she/her – portrayed with charisma by Leesa Tulley) who met at uni and are now planning to write ‘a big fancy musical’ together – although this sounds very familiar, Marlow and Moss insist only bits of it are based on them. They’ve gotten together at Oliver’s place to write, but instead get into a big chat about why they’re single… And what do you know? They decide that that’s the perfect subject for the show! If you look up ‘meta’ in the dictionary, there’s a little note that says “see Why Am I So Single?”.

If you’re thinking “Oliver and Nancy”, why does the combination of those names sound so familiar? Well, when deciding on names for their show, the characters decide to just borrow them from their favourite musical (it’s Oliver!)… The Dickens jokes run throughout and I think I caught all of them, but who can say? I admit I had great expectations for this show (see what I did there?) – and it didn’t disappoint! If you are a musical buff, look for the Easter eggs throughout; Marlow and Moss (M&M) are huge musical fans (of course) and have put a lot of references in for you to spot – but blink and you might miss one, so keep an eye and ear out (I’m sure I missed lots, and will be extra vigilant on my next visit).

Oliver is played by non-binary actor, Jo Foster. It’s an exciting time in theatre that we have a non-binary actor playing a non-binary lead character in a West End musical. Given their success with SIX, I imagine M&M had carte blanche, to a great extent, so of course they used this opportunity to write about characters like themselves (Marlow is nb, Moss identifies as queer) to allow those in the LGBTQ+ community to feel seen and represented, on the stage. In our recent interview (publishing later this week), Marlow said that the writers wanted people to see the performers in the show and be reminded of their own group of friends, hence the casting and character choices reflect this.

However, the show is not about identity, it’s about 2 best friends hashing out their dating life and being there for each other. It’s about how our past can mess with our heads, even without us realising how much it is. It’s about the importance of challenging your friends on their bad decisions, rather than just saying what they want to hear.

A lot of the first half is literally Oliver and Nancy sitting in Oliver’s apartment, asking each other why they are so single. There are some fantastic songs, of course. Jo Foster slays with the epic ‘8 Dates’ that has been the main publicity song, and with good reason. The song recounts Oliver’s eight (yes, eight) cancelled dates, and it’s fast, funny, and no doubt very relatable to anyone who’s ventured into the world of app-based dating. The choreography, by Ellen Kane (also co-director), is absolutely on point. It perfectly captures the manic energy and frustration of the song. Foster’s movements – sharp, jittery, and full of character – are complemented by the ensemble, who bring a chaotic but controlled sense of humour to the routine. There’s something wonderfully absurd about seeing the ensemble personifying the dates, the messages zipping back and forth, and just the whole crazy story that is being recounted.

The absurdity runs deep, as throughout the show, the ensemble rush in at times and bring objects in Oliver’s flat to singing and dancing life! The dancing lamp, plant, curtains etc. are so much fun, and really serve to remind you that this is just a couple of 20 somethings having fun and being silly, especially for much of the first act. The song ‘Interlude in B Minor’, which sees the protagonists stop mid argument to deal with a bee in their flat, sees this at it’s apex, as almost all the furniture in Moi Tran’s simple yet innovative set is running around terrified and then hiding outside the flat whilst the bee is dealt with!

The show does have its more serious moments of course, and Leesa Tulley’s heartfelt ballad ‘Just in Case,’ about the lost love that you can never quite let go of, is moving and tragically beautiful. Her emotional delivery tugs at the heartstrings, capturing that bittersweet ache we’ve all felt at some point. Tulley’s voice, rich and tender, brings an intimacy to the stage that contrasts perfectly with the show’s more comedic moments, reminding us that even in a light-hearted musical, the emotions run deep.

Foster too has their big emotional song, with the spectacular ‘Disco Ball’. This is a song that anyone who is LGBTQ+, neurodiverse, or for any reason has struggled with feelings of vulnerability or lack of self-worth (okay, so most people), will find incredibly powerful. The song explores Oliver’s need to be the bright and shiny centre of attention, to distract from what’s really going on underneath – battle with self-worth, growing up in a world that seemed to have no space in it for anyone that didn’t conform. As a bisexual, neurodiverse man, who has spent much of my life feeling like I don’t quite fit in, this song really moved me. It was a beautifully raw moment that made me feel seen, to almost an uncomfortable extent (I loved it, but it was a hard one to watch).

Lucy Moss’s direction (assisted by co-director Kane) is, as you might expect, what really makes this show work. Her ability to juggle the humour, the chaos, and the more serious moments is just spot on. It’s clear she knows exactly when to let the madness take over and when to pull back, allowing the deeper emotional beats to really hit home (much like in SIX). The way she uses the space (it’s not the biggest stage in the world) makes it feel dynamic and alive, even when the action is just two friends sitting around in an apartment. You can see Moss’s style, blending modern storytelling with the traditional theatrical format in a way that feels fresh, but never forced. She’s got the pacing down to an art form – the show keeps moving, but never feels rushed.

I’m terrible at writing brief reviews, because when I enjoy something I just want to rave on and on about it and make sure to praise everyone and everything awesome… Like I haven’t mentioned the incredible tap-dancing-trainers dance during Noah Thomas’s brilliant ‘C U Never’ song….Thomas plays the one other named character in the show and pops up a couple of times to help drive the narrative (and his mates) in the right direction. I could go on… but let’s leave some things for when you see it!

Unlike SIX, this show is not one to take your ten year old kids or your boomer mum to, this one is for you, and people like you. You are going to love it so much.

WAISS is a testament to the continued growth of Marlow & Moss as writers and creators. With SIX, they redefined what a modern musical could look like, and now with Why Am I So Single?, they’ve once again proven that they are serious contenders in international theatre. Their ability to combine sharp wit, infectious music, and heartfelt storytelling is setting a new bar for contemporary theatre. So hit up that group chat with all your besties, grab the tickets, and get ready for a night of laughter, feels, and epic theatre. Trust me, your mates will thank you later!

Currently booking until 13th February 2025. To book, visit www.whyamisosingle.com

Words by Nick Barr

Photography by Danny Kaan