Review: Bliss the Musical (Edinburgh Fringe)

Bliss the Musical has been brought to the stage by producers Susan Edelstein, ATG and Gavin Kalin, and is showing at Edinburgh Festival Fringe until 31 August.

Four princesses, (Akshara Gunda, Alexandra Emmerson-Kirby, Miriam Nyarko and Matilda Shapland) have been living locked in a castle tower by their father who is making them study in every waking moment. The song that opens the show and introduces us to their predicament, Inside These Castle Walls, evokes memories of SIX, in a good way.  But there are more than six people on this stage, with a cast of 17 as well as a live band we become aware of at the end. Bliss is self-billed as "the biggest new musical at this year’s Fringe" and in terms of people involved, it probably is.

Shown at the Grand at Pleasance Courtyard, a 750 seat venue, Bliss has been sold out on more days than not, including on the day I went to see it. This is no surprise at all.  The music is beautifully formed – some of the songs are available to stream on the usual platforms.  The opening number I mentioned above introduced us not only to the sisters but a large ensemble, made up of fantastic performers, most of them responsible for portraying other characters as the show goes on.

I loved the sisters’ outfits at the start but throughout Bliss, as more characters appeared it became apparent that the costumes (Paloma Young) have been a focal point of the development of this show. Also, the lighting design (Jai Morjaria) was stunning, adding to the feel of spectacle about visual experience.

The cast of Bliss during the curtain call

As the show unfolded, the sisters discussed wanting to be outside the castle walls that night as one of them wanted to see a comet. The King sets them a challenge but is not keen on them going outside the castle at all.  The casting of Cameron Johnson as their father was inspired as he towers above the actors who play the sisters, and has a deep voice that demands respect. Despite coming across as a bit of a villain (especially in the eyes of his daughters), he believes he’s been trying to do his best for them since their mum died.

As the performance progresses it would be possible to wonder if in fact ‘Papa’ did the right thing locking them up. Out in the wild there are some strange decisions made, for girls who are initially shown to be highly intelligent autonomous thinkers. It’s a representation of how outside influences can mess with your head, and yet I did question one decision to conform in particular. Had the fairy godfather, Glimmermore (Tom Bennett), influenced this uncharacteristic choice?

We have a prince (Jordan Calloway), no surprises there, nor of course that he is looking for a wife. Another stunning costume, and his jesters appearing during his entrance song made this introduction impactful.

It would be easy to think that Bliss is ready to be cut from Edinburgh Festival Fringe and pasted into the West End. Even in the current form I could imagine it being very popular with a certain demographic. However, to make it work for a wider audience there is still work to be done.  If the aim is in attract all ages, there are references that are not entirely appropriate for children which are not as subtly disguised as in many family shows. The King and Glimmermore in particular could do with more character development.  Finally, seeing the ball play out would be a great addition – which I anticipate will be added when the show is full length. I am keen to see how the show evolves in future.

Bliss has great potential, and with some further development it could be a big hit in the West End.

⭐⭐⭐⭐

Bliss the Musical is showing at Edinburgh Festival Fringe until 31 August 2026. You can buy a ticket here.

If you would like to see my curtain call photographs from this and other shows, please visit my Instagram.

I was gifted a ticket for this show in exchange for an honest review.