I normally like musicals, but there was something wrong with that one,” a perplexed man says at the end of this Canadian company’s upbeat fusion of a bachelorette party-turned-murder, with original tunes.
The singing is lively, in a nasal moosical-theata kind of way, but the story is clunky even for a genre that isn’t known for its authenticity.
As the archetypal gay and straight characters’ behaviour gets increasingly far-fetched, the songs get more rousing but the situation ever sillier.
A re-occurring theme of blood adds a visual motif, but what is really needed is more believability.
Written for The Scotsman