Old Joint Stock Theatre, Birmingham – until 13th December 2025
Reviewed by Emma Millward
5*****
There’s something magical about climbing the stairs above a bustling pub to reach the Old Joint Stock Theatre. Leaving behind the busy pub full of thirsty visitors from the nearby Christmas Market, you arrive in a more intimate and quaint space ready to be entertained. The intimacy is exactly what makes Sleigh Miserables such a joy. When a show leans heavily into festive chaos, innuendo, and musical surprises, being close enough to catch every wink and raised eyebrow is a must.
At the centre of it all is Emily Hespe, who not only hosts the evening with an infectious energy, but also forms part of a trio of talented performers. Her mischievous presence sets the tone from the start. This isn’t a show that is going to take itself too seriously. Emily moves effortlessly between guiding the audience on what to expect next, witty improvised moments, and belting out numbers with a confidence that keeps the entire room buzzing with anticipation. Emily is also not afraid to poke fun at herself, especially when she comes dangerously close to tripping off the edge of the small stage during a song.
Joining her are Jack Carr and Caprice Lane, both of whom embrace the parody with a gleeful joy. Jack has a brilliant blend of theatrical earnestness and comedic self-mockery. His ability to switch from overblown emotion to sharp comic timing is a recurring highlight. Caprice brings a charismatic, but calmer edge to the proceedings. Though quieter than her fellow performers, but her beautiful crystal-clear soprano vocals constantly wow the audience especially during the hauntingly beautiful medley of ‘When She Loved Me’ from Toy Story 2 and ‘She Used to Be Mine’ from Waitress. Just one example of the inventive and surprising ‘mash-up’ medleys in the show. Together the trio have a chemistry that never feels forced. They bounce well off each other, building jokes out of tiny mishaps, or spontaneous audience reactions. The result is a show that feels playfully, occasionally on the brink of unravelling, but held together by three exceptional performers.
A huge part of the show’s heartbeat comes from musical director Callum Thompson, seated quietly behind a piano like he’s hoping nobody will directly look at him. He sings for brief but memorable flashes throughout the show, each time surprising the audience or making them laugh. His shy demeanour only makes these moments more delightful, like a hidden gem waiting to be discovered. Sleigh Miserables thrives on its irreverent re-imagining of familiar melodies that take sudden festive turns, and the performers deliver them with both genuine vocal ability and tongue-in-cheek humour. I would love to list the songs, but I feel that takes away the genuine delight of hearing, and recognising the songs seamlessly blended together. All I will say is expect the unexpected along the way. Songs from musicals such as Wicked, The Phantom of the Opera and of course Les Misérables appear. Alongside them are Christmas standards and classic Christmas hits aplenty (one word…Whamageddon!). The songs are all cleverly woven together by the performers and Director/Writer James Edge who all clearly enjoy the genre they are sending up and have a genuine affection for it.
All in all, Sleigh Miserables is a gloriously chaotic show. It’s a festive treat that is as clever as it is silly, and perfect for audiences seeking a Christmas show with a mischievous edge.