ROYO, GOLD SKY & PATH ENTERTAINMENT GROUP are shaking up London’s Theatreland with something the West End has never seen before. A brand-new, custom-built venue on Tottenham Court Road will become the home of OSCAR at The Crown—a neon-drenched, dystopian dance party musical that’s already taken the States by storm. We sat down with Hamish Greer, Andrew Barret Cox, and Mark Mauriello—the creative forces behind the show—to talk rebellion, nightlife, and why Oscar Wilde would’ve been the ultimate club kid.
How did the idea to bring OSCAR at the Crown to London come about, and what makes this city the perfect home for its next chapter?
ROYO co-founder Hamish Greer: We’ve been working with the brilliant creators of OSCAR at The Crown for several years, and the dream was always to find a permanent home in London for the show. It started life at 3 Dollar Bill in Brooklyn and has now arrived on Tottenham Court Road via a brief trip to Edinburgh, and this is a big new version in a purpose-built space. OSCAR has always been the biggest and most inclusive party in town wherever it has played, and London’s world class theatre and nightlife makes it the perfect place to be.
The venue itself is just as much a part of the experience as the show. What inspired the creation of this immersive dystopian nightclub setting, and what can audiences expect when they walk through the doors?
Composer/lyricist Andrew Barret Cox: It’s almost as if we could almost hear Lady Gaga’s iconic words, “Dance or die,” echoing from the future back in 2016. We’re built on a rich legacy of amazing club theatre, and over the past decade, we’ve had our fair share of ups and downs, learning from each trial and error along the way. Through it all, we’ve discovered what works and what doesn’t. In the end, the dystopian backdrop serves the heart of the story: set in a (hopefully) far-off future where anyone who doesn’t fit society’s totalitarian mold is cast aside. This club is their sanctuary, their refuge, their safe space. As cliché as it may sound, we want audiences to feel that too— to come as you are, unapologetically. Dress however you like! Wear costumes, club gear, or whatever makes you feel most yourself! Because that’s exactly what we want here: authenticity, inclusivity, and radical acceptance. Oscar’s venue at the crown is a space where everyone belongs. So come grab a drink of five, hear some wild vocalists, dance to some bangers, don’t think too hard, and have fun.
OSCAR star Mark Mauriello: Nightclubs have always been a home, refuge, and community space for queer people and others on the fringe of society — even Oscar Wilde. Was he doing k at the techno club? No. But he had his dinner clubs, after hours places where he could meet with other “like-minded individuals,” queen out a bit, and maybe find someone cute to take home for the night. During the peak of AIDS in New York, as Dan Savage said, “We buried our friends in the morning, we protested in the afternoon, and we danced all night. The dance kept us in the fight because it was the dance we were fighting for.” A pumping bassline is the heartbeat of so, so many communities who are not welcomed in the daylight. The characters in our show are some of those people, so it’s always only felt right that their home — their place of worship — is the dancefloor.
ROYO has a strong track record of producing innovative theatre. What excites you most about working on a show that blurs the lines between musical theatre, nightlife, and cultural revolution?
HAMISH: ROYO’s main focus is new musicals, and when we first heard the OSCAR concept album, we were all in. It does everything a good musical should do, whilst giving you the rush of being out with your friends in the middle of the dancefloor. We love shows that are made with the audience in mind, and OSCAR quickly becomes a show you can’t wait to go back to. London has the most amazing theatres, but there aren’t many spaces that can do non-conventional performances. So when we found an empty basement on Tottenham Court Road, we knew we had to take it. It is so rare to get to design a space with a specific show in mind, particularly for a new musical, so having control over what the audience experience from the moment they open the door has been a huge thrill.
OSCAR at the Crown has been described as Rocky Horror meets Madonna in the ‘90s. How does this production reinvent the modern musical, and what new elements are being introduced for the London run?
ANDREW: Ah yes, something originally meant as an insult that made us say, “Well, yeah!” Listen, at the end of the day this show is for people who just get it and are fucking cool, you know? If you’re planning on being judgmental or uptight—this isn’t for you. Leave the negativity at the door and come let loose. We’ve taken the structure of a musical and filled it with music that works both inside the story and outside of it, standing on its own as solid pop songs. The world is a mess, come dance!
For this London production, it’s the first time we’ve had a venue built specifically for the show. Normally, we adapt the show to fit the space, but this time, the venue is designed to fit the show. London audiences will experience this performance in a way no audience ever has in its ten-year history. It’s going to be a whole new level.
MARK: OSCAR at The Crown is fuelled by the lineage of pop music and club culture much more than it is traditional drama. Andrew has written absolute banger songs that tell our story in a way quite different from a typical musical — they’re poetry, they shape mood and feeling, and they put the action of our show directly into the viewers’ bodies. He’s always in tech talking about “I’ll know it’s good when I can feel it.” And when you do, you really do.
Madonna and Rocky Horror are absolutely influences. Top of the list. To be mentioned in the same breath as them is an honor. Both are pinnacles of queer pop culture because they are so infused with reinvention, with reappropriation, with reclamation, and with reference and re-reference. I want the audience at OSCAR at The Crown to feel the way I felt when I was 17 and smashed up against the front guardrail at The Monster Ball. That changed my life. That showed me what theater can be, can look like, and can do. That’s the kind of gig you’re coming to. (Funny story: Andrew and I actually stood directly next to each other at The Monster Ball, even though we didn’t know each other and wouldn’t meet until years later… but that’s on destiny, mama. Everyone say THANK YOU STEFANI!)
What’s most exciting to me about this new run in London is that our intrepid producers are actually building The Crown. This time, we won’t be inviting audiences into an existing nightclub where we’re performing a show. They are coming over to our house. The venue is the setting. And I hope that allows audience members to feel completely transported to our little dystopian bunker where we rave all night and have nothing but fun… until we don’t.
The show celebrates queer culture and reclaims Oscar Wilde as an icon of resilience and rebellion. How do you think this production speaks to contemporary audiences, especially in today’s political and social climate?
ANDREW: Times are tough right now. We’re entering a dark chapter in the cycle of history repeating itself. Marginalized communities are more scrutinized than ever before. This show serves as a reminder that, even in the face of adversity, we must keep fighting and stand strong together. Because when it comes down to it, all we have is each other.
In the early 2010s, we naively believed that social media and reality television would be little more than passing distractions, harmless accessories to our lives. Little did we know, they would fundamentally reshape the very fabric of our reality and alter our brain chemistry in ways we’re still grappling with today. The landscape is messy, and we’re still figuring out how to navigate a world forever changed by these juggernaut forces. So, while we absolutely encourage audience members to engage with us through their phones in whatever way they choose, we also want to remind them of the power of being truly present—of experiencing something physically and emotionally, surrounded by members of their community. In an age of constant digital connection, we want to reclaim the raw, collective energy that only happens when we come together in person.
MARK: OSCAR is, in many ways, a fable for the rise and demise of the social media age. What at first was something that put the power of self-invention into everyone’s hands and democratized access to fame, being known, and shaping and sharing information has since devolved into endless influencer ads, alternative facts, and neofascism. What was a playground of pop possibility has become a much darker, more dubious and dangerous tool.
It’s also about loving the things that you love, loving the people that you love, and living your life unapologetically. Yes, we need to fight the fascists. But we also need to show them that they do not have the power to dim our spirits. That the beauty and the joy we find in ourselves and in our friends and chosen family is something their snaky little fingers won’t ever be able to grab ahold of.
At the end of the day, I think one of the messages of the show is that the only thing that can save you are the people standing next to you. We need community, and we need trust in one another.
With its interactive nightclub energy, the show creates a unique relationship between performers and the audience. How do you think this format challenges traditional theatre conventions and engages audiences in a new way?
ANDREW: The term “immersive” gets tossed around a lot these days, but we want to be clear—we are not that. No one is going to pull you onstage or force you into anything you don’t want to do. This is a site-specific, 360-degree experience. You’re stepping into a nightclub where the story unfolds around you, and how you engage with it is entirely up to you. If you want to dance in the center and belt out the tunes, go for it. If you’d rather sip a vodka soda in the corner and watch the story unfold, we’re all for it! Our aim is to seamlessly blend the energy of nightlife with the artistry of theatre, creating an experience that brings everyone in the room together, no matter how they choose to participate.
MARK: There’s an incredibly special type of energy generated from performing our show this way. For an actor as much as an audience member: it’s a full 360. You actually are in the room, with all the other people, doing and experiencing something together. The connections that we all make together are quite visceral and very real. You might get a little sweat on, but that’s what makes it hot. And just like in a club, you can be free — be in the center of the action if that’s what moves you or stand back and watch how things unfold. The audience is as much a part of the show as anything else. The true hope is that folks will keep coming back, experience the show in new ways, pick up on different elements of the story and design, and have a new adventure every time. I always say: come once to get wasted and let it all wash over you, and then hopefully you’ll find yourself thinking “That was crazy… I need to go back and soak up every detail.”
Bringing a production like this to life must come with both creative and logistical challenges. What were some of the biggest obstacles in designing a custom-built venue for the show, and how did you overcome them?
HAMISH: Well…we’re still overcoming them! The basement that we’re transforming into our venue was literally filled with toilet roll and weird holiday decorations. Thinking about it now we actually could have just kept that as the design. But we’ve gutted it, put in power, rigging, a bar, everything. The challenge is almost having too many options – the creative team had a blank canvas, but what they’ve done is truly incredible and building work is well underway.
London’s Theatreland is expanding with OSCAR at the Crown. How do you see this production shaping the future of immersive theatre in the city?
HAMISH: I think Andrew is right that the word ‘immersive’ is used a lot and means different things to different people. OSCAR is a musical, with a story, song and characters, and if you want to sit at the bar and just watch it you are more than welcome to. But if you want to dance with the cast and sing along, you will have fun too. I hope that the space becomes part of the theatre scene for producers looking to do something a little different, and in time the bar will be open too even when the show isn’t performing. Everybody is welcome to come and have a good time, whatever that means to them.
The original New York production and its Edinburgh run received glowing reviews. What key elements from those productions are being carried over, and what surprises can London audiences look forward to?
ANDREW: They did? Oh, slay! What has remained a constant at OSCAR at the Crown since its inception is its high-octane energy. It features some of the most talented vocalists, dancers, jaw-dropping costumes, delivering campy, and over-the-top pop hits that we could conjure. Also, at its heart is a wild tale about a queer cult of exiles who’ve been living underground for so long that they’ve turned reality TV, social media, and the complete works of Oscar Wilde into the foundation of their end-of-the-world conspiracy theory/ religion. Normal everyday stuff, you know? These characters worship icons like Gemma Collins and Countess Luann, tracing their origins back to the very person who first crafted a life for the adoring, obsessed public—Oscar Wilde. Can you imagine him on Twitter today? He’d own it!
For the first time ever, London audiences will experience the world of OSCAR at the Crown from the moment they walk through the door. They’ll actually go underground, party in the bunker, sip on specialty cocktails, and become part of the world in a way no audience ever has before. Trust me, we’re also excited to try the drinks.
MARK: To me, the true review is always the energy in the room. It’s not something you can write or read about, but something you have to feel. And I love to feel it.
The show is, structurally and thematically, pretty much what it always has been. But this time, and especially after having to make a 60-minute abridged version for Edinburgh, we’re able to really flesh out and live in the story we’re telling. There are a few new songs, new technical elements, and I hope the connections that audience members are able to make with each of the characters and performers are stronger, deeper, and more personal than they ever have been.
One of the best things about our run in Brooklyn was the way nearly the entire audience would stay at the club and dance and hang out after the show every night. The party really did continue, and it allowed us to build a really unique and close community around the show. Being able to have our own club in London and throw our own parties every night after the performance is an absolute dream for me. When you come to OSCAR, you won’t just be buying a ticket to watch a show. It truly is an invitation to an all-night affair, and I’m so excited to meet London in this way. I don’t drink, but I’ll do pretty much anything else!
For those who may not be familiar with OSCAR at the Crown, why is this a must-see experience, and how do you hope audiences will feel when they leave The Crown?
ANDREW: So we’ll be real with you— over the years, we’ve had producers offering us the world to simplify this show, strip it down to the basics, and make it a lighter, more easily digestible experience. It was tempting, but at the end of the day, we love this show exactly as it is, and we know others will too. It’s complex, layered, and the kind of show that sparks debates and deep conversations for hours. Trust us, we do it all the time! Our goal was to create something we’d be obsessed with if we ever stumbled upon it, and we think we have. If we walked in blind? Honey, we’d be there every night, losing our minds.
What we really hope is that when people leave OSCAR at the Crown, they feel alive again. Inspired. Like they’ve found a place where they truly belong. The good news is- you can come back time and time again and have a different experience each time! Hell, there are even new things we discover every time we perform it. It’s a show that keeps giving, and we can’t wait to share that energy with you.
MARK: What he said.
