Heated Rivalry: The Unauthorized Musical Parody ★★★★

Musical parodies are often a tricky tightrope to walk. They must oftentimes balance paying homage to a piece of media, satisfying both fan culture and fan hysteria around the original source material. Especially when said source material is so incredibly popular that, in just a year, it has spawned countless parodies.

In Heated Rivalry: The Unauthorized Musical Parody, the effects of fan culture are pleasantly touched on and teased. It’s essentially an abridged retelling of the book-turned-Netflix series in a musical format, with some exceptional choices of minimal set pieces. As with many musical parodies, the fourth wall is broken constantly – the opening number is especially entertaining, with references to its central demographic as “straight or gay, white women” particularly hitting strong.

To recap, Heated Rivalry is a sports-romance set in the highly competitive world of the NHL. Shane Hollander, a Canadian hockey player, ostensibly one of the best in the world, is rivals with Ilya Rozanov, a Russian player with a cocky streak. Despite being rivals, they have a mutual attraction to one another and eventually embark on a long relationship together. Its ups and downs make up the novel and show – with a strong emphasis on the difference between physical intimacy and emotional intimacy. Shane wants to be official with Ilya – and in classic romantic storytelling fashion, it’s complicated by societal and familial factors.

The musical parody, a transfer from The Club in New York City, fairly follows the plot of the show, including many moments that will get fans ravenously excited. The musical does cut down some bits from the show – like Shane’s father. Some of these moments are a little missed, especially as they add to Shane’s sexuality, which he has to hide. Otherwise, many of the plot points are retained and respected. Yes, the cottage line is still left intact.

The performances greatly uplift this musical. They are simply electric. Zheng Xi Yong effectively satirises the naive characterisation of Shane through doubling down on his wide-eyed innocence, especially in the earlier moments. His ability to convey a genuine sexual and romantic attraction to Ilya is impressive, especially when one considers that parodies can sometimes feel a little lacking dramatically.

Joseph Dann is similarly effective in the emotionally fraught clashes with Yong’s Shane. He plays Ilya with a cold-heartedness that parallels the show’s elusive and frustrating love interest. Fans will be delighted to see that respect is paid to “Ilya’s ass,” purportedly a critical casting nuance in the show. Dann nevertheless provides a wide range of delightful moments, from dancing to singing; his chops for physical comedy should also be commended.

Rounding out the rest of the cast is Andrew Berlin, whose hilariously awful Russian accent fits the camp nature of the rest of the performances. Sylvie Stenson presents Shane’s mother with ludicrously harsh judgements of her son. Finally, special mention should be made for May Tether’s portrayal of the show’s narrator, Susan. Not only is she able to masterfully break the fourth wall without it feeling cheap, but it’s through her knowing winks to the audience where the real heart of the show emerges – the audience’s connection to the material is why they are all here.

Alan Kliffer is a director with a strong eye towards efficiency. Minimal props are used throughout the show, including just hockey sticks and a treadmill. Three wall panels that change wallpaper are reserved for the set. This gives the piece an extremely fast-paced feel, perfectly suited for the Edinburgh Fringe.

Undoubtedly, fans of the show will find this incredibly charming and an appropriate homage to the show. It’s also an effective piece of homage to the people that have watched or read Heated Rivalry – touching on its impact on the queer community, which is a delight. Obviously a must-watch for fans, though with its moving quality, it is a treat for anyone unfamiliar.