Pied Piper is a brilliant burst of beats, rhythm and community spirit.
If you’re expecting a traditional retelling of the Pied Piper story, think again. The adaptation currently at Leeds Playhouse is a vibrant hip-hop musical that swaps flutes for microphones and turns the familiar folk tale into a celebration of rhythm, creativity and community.
Created by beatbox artist and theatre-maker Conrad Murray, (who is not only the driving force behind the production but also plays the Pied Piper himself) the show is a high-energy reminder of the power of music and the importance of finding your own voice.
What makes this production so striking is that the entire score is created using only the human voice. There are no instruments on stage; every beat, rhythm and melody comes from the seven main performers themselves. The result is genuinely impressive. Beatboxing becomes the heartbeat of the show, building complex soundscapes that bring the story of Hamelin to life in a way that feels fresh and unexpectedly theatrical.
The performers demonstrate extraordinary vocal skill, and the show makes clever use of the microphone to layer sounds and rhythms live on stage. One particular crowd favourite was the performer Tempo, played by Alex ‘Apollo’ Hardie, whose effortless vocal tricks and ability to conjure full musical textures from a single mic left young audience members wide-eyed.
Audience participation is woven throughout the performance, and the children in the theatre were fully involved, chanting rhythms back to the cast and helping create the musical atmosphere. It gave the show the feel of a shared experience rather than simply something being watched from the seats.
The production also has a strong community spirit. In a lovely touch, performers from the local community join the cast for several songs, reinforcing the show’s message that music belongs to everyone. It’s clear that the company behind the piece does a huge amount of work encouraging people, particularly young people, to embrace beatboxing, creativity and performance.
One of the biggest highlights comes towards the end of the show in a lively beatbox battle, where the audience decides the winner. It’s a moment packed with energy and laughter and had the children in the crowd completely hooked.
The younger members of the audience were certainly engaged throughout. My own children particularly loved the mischievous rats, while Edward was delighted by the wonderfully villainous mayor. The humour landed well, and the show sent the kids home enthusiastically attempting their own beatboxing routines.
At around 75 minutes, it’s an ideal length for younger theatre-goers. There were a few moments where some songs felt slightly repetitive and the pacing dipped a little for restless children, but the overall inventiveness of the piece kept the audience on side.
In many ways, the show feels like a kid-friendly cousin to Hamilton, a story told almost entirely through rhythm and music, bursting with energy and attitude.
Above all, Pied Piper is joyful, creative theatre. It celebrates music, encourages young people to experiment with their voices and reminds audiences that creativity can come from anywhere.
Judging by the number of children leaving the theatre beatboxing their way down the foyer, its message has definitely landed.
Pied Piper is at Leeds Playhouse until 14 March.
Photography by Ali Wright unless otherwise captioned.
