“Heated Rivalry: The Unauthorized Musical Parody” has arrived at London’s Underbelly Boulevard Soho for a limited run from October 7 to November 1, 2026, transforming the hit television romance into an outrageously funny musical that combines explicit comedy, impressive vocals, and surprisingly heartfelt storytelling. We attended the October 20 performance and can confidently say that this is one of the funniest musicals we’ve ever seen, delivering an unforgettable night of theatre that exceeded our expectations in practically every way.
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Heated Rivalry Takes Centre Stage In London
Written by Dylan MarcAurele and directed by Alan Kliffer, “Heated Rivalry: The Unauthorized Musical Parody” has already made its mark Off-Broadway and at the Edinburgh Festival Fringe before bringing its particular brand of adult comedy to London. The musical opened at Underbelly Boulevard Soho on October 7, 2026, where it is set to entertain audiences until November 1. Bringing a comedic twist to the romantic storyline of Shane Hollander and Ilya Rozanov, the production draws upon characters from Rachel Reid’s Game Changers novels who have become widely recognised through the television adaptation.
For those unfamiliar with the original story, Shane Hollander and Ilya Rozanov are rival professional ice hockey players whose relationship develops behind closed doors. Their connection is complicated by their careers, public expectations, and the challenges of acknowledging their feelings, providing a storyline that balances romance, personal struggles, and emotional vulnerability.
The parody takes these familiar elements and pushes them into gloriously ridiculous territory, with original songs, suggestive choreography, exaggerated dialogue, and plenty of innuendo. However, rather than losing the emotional foundations of the original story, the musical manages to preserve them, creating a production that can have audiences laughing uncontrollably one minute and feeling genuinely invested in the characters the next.
Our performance was absolutely packed, with the venue appearing to be sold out, and the atmosphere was electric from beginning to end. When we originally looked at purchasing tickets, numerous performances had already sold through their allocated seating, leaving standing tickets as the remaining option. With additional late-night performances also announced, demand certainly appears strong, and we can only hope that another London engagement is on the cards.
An Outstanding Cast With Incredible Chemistry
Leading the five-person cast are Zheng Xi Yong as Shane Hollander and Joseph Dann as Ilya Rozanov, both of whom deliver phenomenal performances. From their respective introductions, the two actors immediately command attention, capturing the personalities of their characters while embracing the heightened comedy that makes this production so entertaining.
Their vocal abilities are particularly impressive, with both performers delivering the musical’s challenging and frequently outrageous lyrics with precision, confidence, and excellent comedic timing. Their acting is equally accomplished, allowing the audience to become invested in Shane and Ilya’s complicated relationship even as the production repeatedly finds new ways to make fun of their circumstances.
Perhaps most importantly, their chemistry is undeniable. Throughout the musical, their relationship develops through flirtatious exchanges, increasingly intimate encounters, and moments where the possibility of a kiss feels tantalisingly close. The performers understand how to build that anticipation, keeping the audience invested in every interaction while playing with the tension between the characters.
The production certainly does not shy away from the physical attraction at the heart of Heated Rivalry, either, gradually turning Shane and Ilya’s flirtatious encounters into increasingly intimate moments. While the actors initially appear in underwear vests during certain scenes, the tension gradually intensifies, leading to some particularly steamy moments in the second half where both performers go topless as the storyline demands. The musical knows exactly how to tease its audience, balancing suggestive interactions with carefully timed reveals and a few hot surprises that are best experienced firsthand.
However, the strength of their performances extends beyond the comedy and sexual tension. When the story moves into more emotional territory, Zheng Xi Yong and Joseph Dann demonstrate an equally impressive ability to communicate vulnerability and genuine affection, ensuring that Shane and Ilya remain believable characters rather than simply exaggerated versions of their television counterparts.
May Tether is another absolute standout, delivering an incredible performance as Susan, the enthusiastic Heated Rivalry fan who acts as the musical’s narrator and guides audiences through Shane and Ilya’s developing romance. Bringing infectious energy, expressive characterisation, and impeccable comedic timing to the stage, she commands attention whenever she appears, effortlessly drawing the audience into the story while delivering some of the production’s most hilarious moments.
Her vocals are equally outstanding, showcasing an impressive range and powerful delivery that further demonstrate her versatility as a performer. With her larger-than-life personality, brilliant facial expressions, and ability to transition seamlessly between characters, May Tether makes Susan an unforgettable part of the production. It’s easy to understand why her performance has attracted such widespread praise, and after witnessing her incredible talent firsthand, we’d jump at the opportunity to see her perform in another musical.
Andrew Berlin and Sylvie Stenson are equally deserving of praise, bringing remarkable versatility to the production through their supporting performances and multiple character portrayals. Taking on roles including Ilya’s father and Shane’s mother, respectively, the two performers move between different characters with impressive ease, delivering hilarious moments and outstanding vocals throughout. Their ability to switch personalities, costumes, and comedic styles while maintaining the musical’s relentless energy is a testament to their theatrical talent, with both making significant contributions to the production’s success.
The entire cast deserves recognition for their ability to transition between roles, deliver outstanding vocals, and maintain the musical’s relentless comedic energy. Every performer contributes something memorable, and together they create a production that feels considerably larger than its five-person cast might suggest. Their chemistry as an ensemble is exceptional, with each actor playing off one another’s strengths and ensuring that every interaction, whether hilarious, flirtatious, or emotional, feels completely natural.
From perfectly timed comedic exchanges to impressive musical numbers and seamless character changes, the level of talent on display is extraordinary, especially considering the pace at which the story unfolds. It’s clear that every member of the cast plays an essential role in making this production such an unforgettable theatrical experience, with the London ensemble delivering a phenomenal performance that deserves every bit of applause and recognition it receives.
Original Songs That Are As Catchy As They Are Hilarious
One of the musical’s greatest strengths is its original soundtrack, featuring 11 tracks that combine catchy melodies with outrageously clever lyrics. Every single song earns its place within the production, using musical comedy to advance the storyline while delivering jokes that range from playful innuendo to unapologetically explicit humour.
The songs featured in the production are:
- “What We Want”
- “Shane Hollander, Slap That Stick!”
- “A Heavy Load”
- “Big Ass, Cold Heart”
- “Gym Song”
- “One Heated Rivalry!”
- “This Fuck Was Different”
- “Fakeout”
- “You’re a Gay Guy”
- “I Can Host”
- “What We Want (Reprise)”
Although every number stands out for its own reasons, several became particular highlights of our experience.
“Shane Hollander, Slap That Stick!” is an incredibly catchy and energetic musical number, combining Zheng Xi Yong’s impressive vocal delivery with brilliantly executed choreography. The routine captures Shane’s personality while incorporating the hockey-inspired humour that runs throughout the production, with every movement and lyric adding to the entertainment. Zheng Xi Yong commands the stage throughout, effortlessly bringing together his singing, dancing, and comedic timing to deliver a performance that is as captivating as it is memorable.
Joseph Dann also shines during “Big Ass, Cold Heart”, delivering an exaggerated emotional power ballad that hilariously explores Ilya’s impressive backside alongside his struggles to express his feelings. His powerful vocals bring a surprising sense of sincerity to the ridiculous subject matter, while his subtler physical comedy and carefully controlled movements complement the character’s outwardly guarded personality. The result is a wonderfully entertaining contrast between heartfelt musical drama and outrageous humour, demonstrating Joseph Dann’s ability to make even the most absurd material feel genuinely engaging.
“Gym Song” is another unforgettable highlight, bringing Shane and Ilya together for a brilliantly synchronised workout routine that oozes sex appeal, with Zheng Xi Yong and Joseph Dann delivering an incredibly flirtatious performance filled with undeniable chemistry, suggestive choreography, and electrifying sexual tension. Originally released on August 10, 2026, as the first single from the Off-Broadway cast recording, featuring Jimin Moon, Jay Armstrong Johnson, and Ryan Duncan rather than the London performers, the track also became a prominent part of the musical’s promotion. It has since emerged as the soundtrack’s most-streamed song, accumulating approximately 65,000 Spotify streams and 109,000 YouTube views at the time of writing.
With its infectious, ’80s-inspired workout-pop sound, catchy melodies, and outrageously inventive lyrics, the number transforms the characters’ flirtatious gym encounter into an entertaining musical spectacle. However, the two hockey players aren’t alone, as an older woman exercising nearby becomes an unexpected observer of their increasingly suggestive interactions, delivering her own hilarious commentary through song.
The older woman’s hilarious observation about the knowing looks Shane and Ilya exchange, culminating in the outrageous declaration that “These boys are about to sodomize!”, is a particularly brilliant example of Dylan MarcAurele’s clever songwriting. The unexpected punchline turns an already amusing situation into something even more ridiculous, with the performers’ impressive vocals, perfectly timed comedic delivery, and energetic choreography making “Gym Song” an absolute standout that had us laughing throughout.
Then there is “You’re a Gay Guy”, a number that brings an entirely different dimension to the soundtrack. While the song is undoubtedly funny, its underlying message of self-acceptance, LGBTQIA+ pride, and celebrating who you are adds a genuinely uplifting quality. The scene sees Rose (played by May Tether) encouraging Shane to embrace his sexuality with confidence, reminding him that there is nothing to hide or be ashamed of and helping him recognise the radiant gay guy she already knows him to be.
Through her unwavering encouragement, Rose gives Shane the reassurance and confidence to accept himself fully, turning what could have been another purely comedic moment into something surprisingly heartfelt and empowering. It’s a beautiful celebration of being unapologetically yourself, balancing the musical’s cheeky humour with a powerful message of self-acceptance, pride, and positivity that resonates deeply with our own ethos here at Good Star Vibes.
Interestingly, the London production also makes some subtle changes to the lyrics of “You’re a Gay Guy”, adapting certain cultural references for British audiences. Comparing the performance we attended with the original Off-Broadway cast recording, we noticed that a reference to a “decoupage class” had become a “cake baking class”, replacing a potentially less familiar craft activity with something immediately recognisable.
Another particularly clever alteration comes when Shane insists that he’s a straight man, comparing himself to Tom Hanks and American politician Pete Buttigieg in the original Off-Broadway recording, while the London production replaces the latter with British actor Jonathan Bailey. The joke lies in Shane’s apparent obliviousness to the fact that Buttigieg and Bailey are both openly gay, making his attempts to convince himself of his heterosexuality even funnier. By substituting the American politician with a familiar British actor, the London production preserves the original humour while making the reference more immediately recognisable to its audience.
These adjustments appear to reflect a wider effort to ensure the musical’s comedy translates successfully across the Atlantic. In an interview discussing the show’s move to the UK, writer Dylan MarcAurele and director Alan Kliffer revealed that cultural references were being reviewed, with Kliffer mentioning plans to replace references to American actor Andrew Barth Feldman and the photo-printing company Shutterfly, the latter potentially becoming the more familiar British brand Snappy Snaps. Although we cannot confirm whether those particular changes appeared in the final London production, the alterations we noticed in “You’re a Gay Guy” demonstrate the attention given to making the humour feel natural for its new audience without compromising the original songwriting.
“I Can Host” also deserves special recognition for its storytelling, turning Shane’s attempts to convince Ilya to visit his cottage into a brilliantly entertaining musical number. With its gospel-inspired sound and increasingly enthusiastic delivery, the song transforms an important moment in their developing relationship into a celebration of Shane’s determination to bring them closer together. The combination of the performers’ vocal abilities, entertaining character interactions, and carefully crafted lyrics makes it another standout moment in an already impressive soundtrack.
What makes the soundtrack so successful is that the songs are never simply interruptions to the storyline. Each number contributes to the narrative, develops the characters, or reimagines a recognisable moment from the television series, ensuring that the music feels like an essential part of the production rather than an addition to it. Whether delivering outrageously funny lyrics, exploring the growing romance between Shane and Ilya, or celebrating themes of self-acceptance and pride, the songs demonstrate an impressive ability to balance comedy with genuine emotion. The performers deliver every number with such confidence, personality, and precision that even the most ridiculous lines feel like natural extensions of the characters and their experiences.
The original cast recording is also available on digital download and streaming platforms, allowing audiences to revisit the songs long after attending the production. It is worth noting that the recording features the Off-Broadway performers rather than the London cast, meaning the versions heard on the album differ from those performed at Underbelly Boulevard Soho. Nevertheless, it offers a brilliant opportunity to rediscover the musical’s humour, memorable melodies, and clever storytelling, while also providing an entertaining introduction for anyone considering seeing the show.
Comedy That Had The Entire Audience Laughing
We’ve experienced plenty of hilarious moments in musical theatre over the years, with “SIX” being one production that previously had us laughing throughout. However, “Heated Rivalry: The Unauthorized Musical Parody” takes theatrical comedy to an entirely different level, delivering an extraordinary combination of witty writing, outrageous situations, and impeccable comedic timing. There’s a cleverness behind the humour that makes every joke feel intentional, with the production confidently embracing its adult themes while knowing exactly how to entertain its audience.
From the opening scenes to the unforgettable finale, we found ourselves laughing practically nonstop, with barely enough time to recover from one hilarious moment before another arrived. Every scene seemed to introduce another brilliantly exaggerated situation, unexpected joke, or cleverly delivered line, and the audience around us was clearly having just as much fun. The humour never feels forced or included simply for shock value, instead drawing upon the characters’ personalities, their developing relationships, and the wonderfully inventive ways the musical reimagines familiar moments from the original story.
What made the experience particularly special was hearing the entire room erupt into laughter together, creating an atmosphere that was every bit as infectious as the comedy unfolding on stage. There were moments when the audience was practically cackling, with waves of laughter spreading throughout the venue as one hilarious moment followed another. Being surrounded by people who were clearly enjoying themselves just as much as we were added another dimension to the performance, creating a wonderful sense of shared excitement and enjoyment. It was the kind of theatrical atmosphere that makes live entertainment so special, where the reactions of those around you become an unforgettable part of the experience itself.
The performers’ comedic timing was exceptional, demonstrating an impressive awareness of the audience and their reactions throughout the evening. They knew precisely when to pause and allow the laughter to settle before continuing, ensuring that jokes landed without the following dialogue being lost beneath the audience’s responses. Just as importantly, they maintained the momentum of the production, effortlessly picking up where they left off and delivering the next joke with the same confidence and energy. It is a deceptively important skill, particularly in a musical where the humour arrives so frequently, and the entire cast handled it with remarkable precision.
Crucially, the comedy extends far beyond the musical numbers, ensuring that the entertainment never stops simply because the characters aren’t singing. The spoken dialogue, witty commentary, character interactions, and transitions between scenes are just as entertaining as the songs themselves, with even the smallest exchanges offering opportunities for laughter. Whether it’s a perfectly delivered throwaway remark, an exaggerated facial expression, or an unexpected interaction between characters, the production finds humour in practically every corner of its storytelling. There is barely an opportunity to recover from one joke before another arrives, and the cast maintain that incredible momentum throughout the approximately 75-minute performance.
The humour is undeniably adult-oriented, featuring explicit language, sexual references, innuendo, and deliberately provocative situations, making it a production that certainly isn’t afraid to push boundaries. Yet what makes the comedy particularly impressive is the creativity behind it, with the writing finding humour in everything from the characters’ sporting rivalry to their romantic encounters and emotional complications. Rather than relying solely on outrageous language or sexual jokes to provoke a reaction, the musical uses these elements to explore the personalities and relationships at the heart of the story, often finding unexpected humour in situations that also reveal something meaningful about the characters.
Unforgettable Scenes And Brilliant Audience Participation
One of the production’s most impressive achievements is how much material from the television adaptation it manages to incorporate into its relatively short running time. Familiar scenes, character developments, and memorable moments are reimagined through musical numbers and comedic sequences, giving fans plenty to recognise while offering an entirely different theatrical experience.
Among our favourite moments were Shane’s elaborate hockey-stick routine, the synchronised gym sequence, Rose’s uplifting conversation with Shane during “You’re a Gay Guy”, and the ensemble performance of “I Can Host”. Each scene combines strong characterisation with imaginative staging and exceptional comedic execution.
However, one of the biggest surprises came when the cast invited an audience member onto the stage to portray Scott Hunter during the memorable smoothie scene.
Handed a script and encouraged to perform alongside the professional cast, the unsuspecting participant embraced the opportunity and delivered a phenomenal performance. The moment became even funnier when he was given a banana, which he proceeded to eat, adding another wonderfully ridiculous visual element to the scene.
The audience participation was a fantastic addition, introducing an element of unpredictability that made the performance feel particularly special. It also demonstrated the cast’s ability to improvise and interact with someone outside the established company while maintaining the momentum of the production.
With a different audience member participating in this sequence each night, it provides another reason to see the musical more than once, as the reactions and interactions create a slightly different experience at every performance. Much like productions such as “Titanique”, which incorporate improvisation and spontaneous audience interactions into their performances, these unpredictable moments add an extra layer of excitement to live theatre, ensuring that even those who have seen the show before can discover something new to laugh about on a return visit.
Other memorable visual jokes include the use of puppets to suggest intimate encounters, deliberately exaggerated bedroom scenes, and a particularly amusing moment involving Ilya preparing Shane a sandwich. These sequences demonstrate how the production can suggest the television series’ more intimate situations through theatrical comedy without attempting to recreate them realistically.
The finale also deserves recognition, bringing the musical to a conclusion that is as outrageous and provocative as the rest of the production. Without giving too much away, it is a suitably sexy ending that certainly knows how to leave a lasting impression.
Imaginative Staging And Clever Choreography
The staging at Underbelly Boulevard Soho is another aspect that contributes significantly to the production’s success. Rather than relying on elaborate scenery, the musical makes effective use of movable set pieces, props, and imaginative transitions to transport the audience between locations.
The relatively simple approach allows the performers and their interactions to remain the focus, while encouraging audiences to use their imagination as the story moves between hockey arenas, gyms, bedrooms, and other familiar settings.
Hockey sticks are an essential element of the staging, naturally, given the characters’ sporting careers. However, the production uses them for considerably more than establishing the setting, incorporating them into comedic routines and choreography that playfully reinterpret the sport.
The choreography by Brooke Engen and Tiffany Engen is particularly impressive during the musical numbers. Zheng Xi Yong executes the movements in “Shane Hollander, Slap That Stick!” with remarkable precision, while Joseph Dann brings a different physical energy to “Big Ass, Cold Heart”. When the two performers come together for “Gym Song”, their synchronisation adds another entertaining dimension to their onstage chemistry.
The use of puppets and deliberately theatrical representations of intimate encounters also demonstrates the production’s inventive approach to visual comedy. Rather than attempting realism, these moments embrace the absurdity of parody, often making the scenes considerably funnier than a straightforward recreation would have been. Alongside the puppetry, the production also features more intimate moments between Shane and Ilya, with Zheng Xi Yong and Joseph Dann showcasing impressive chemistry and a convincing connection throughout. Jess Hrabowsky is credited as the production’s intimacy coordinator, contributing to an important aspect of bringing these scenes to the stage.
The set design by Sully Ross, costumes by Brendan McCann, lighting by Devin Cameron, and sound by Germán Martinez help bring these elements together, supporting the production’s fast-paced storytelling and energetic performances. Each creative element contributes to the theatrical experience, helping establish the different settings, enhance the comedic moments, and ensure the transitions between scenes feel seamless without disrupting the production’s momentum.
Beneath The Comedy Is A Surprisingly Emotional Love Story
For all its outrageous jokes, sexual innuendo, and exaggerated performances, “Heated Rivalry: The Unauthorized Musical Parody” also succeeds in preserving something essential from the original story: the emotional connection between Shane Hollander and Ilya Rozanov.
The musical follows the ups and downs of their relationship, exploring the attraction, uncertainty, personal struggles, and developing affection that make their story so compelling. Although these moments are frequently surrounded by comedy, the emotional foundations remain surprisingly effective.
This is where the performances of Zheng Xi Yong and Joseph Dann become especially important. Both actors demonstrate that they can do considerably more than deliver funny lines and catchy songs, bringing genuine feeling to the scenes that require vulnerability and emotional honesty.
There are moments when the comedy gives way to something more heartfelt, allowing the audience to connect with the characters beyond their exaggerated personalities. The contrast makes these scenes particularly effective, reminding viewers why Shane and Ilya’s relationship has resonated with so many people.
Indeed, if the comedic elements were stripped away, the production would still have the foundations of a moving romantic story. That is a testament to both the original material and the performers’ ability to bring emotional depth to a production that otherwise spends much of its running time encouraging the audience to laugh.
It is this balance that elevates the musical beyond a straightforward parody. Audiences can enjoy the ridiculous humour while still caring about the characters, their relationship, and the challenges they face.
A London Return Cannot Come Soon Enough
It’s rare that a musical exceeds our expectations so completely, but “Heated Rivalry: The Unauthorized Musical Parody” managed to do precisely that. From the outstanding cast and impressive vocals to the inventive staging, brilliantly crafted songs, and relentless comedy, practically every element of the production left us wanting more.
The atmosphere inside Underbelly Boulevard Soho was extraordinary, with the packed audience responding enthusiastically throughout. Hearing so many people laughing together, while watching performers who were clearly committed to making every scene as entertaining as possible, made the experience even more special.
We would happily see this production again and again. With additional performances being introduced during its London engagement, we hope that its popularity will encourage the producers to consider another run in the capital, potentially in a larger venue. No further London engagement has been confirmed, but the apparent demand suggests that there could be an enthusiastic audience waiting if it does return.
Whether you’re already obsessed with Heated Rivalry or simply enjoy outrageous musical comedy, this is a production that deserves attention. Its combination of exceptional performances, catchy original songs, hilarious dialogue, and unexpectedly touching moments creates an experience that is difficult to forget.
“Heated Rivalry: The Unauthorized Musical Parody” is outrageously funny, unapologetically sexy, wonderfully inventive, and genuinely heartfelt. We went in with high expectations and left having experienced one of the most enjoyable nights of musical theatre we can remember. If it comes back to London, we’ll be among the first looking for tickets.
“Heated Rivalry: The Unauthorized Musical Parody” is playing at Underbelly Boulevard Soho, London, until November 1, 2026. Tickets and further information are available through the venue’s official ticketing channels.
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