The Epstein Theatre’s world premiere of Shake It Up Baby revisits one of the most unique chapters in popular music history — The Beatles’ apprenticeship in the clubs of Hamburg — and does so with an infectious vitality that makes the evening as much a gig as it is a play.
Rather than attempting to pin down the precise chronology of events, Stephen Fletcher’s production embraces atmosphere and energy, treating the story as a memory, textured by sweat, noise, exhaustion and the adrenaline rush of performance. It is this impressionistic quality that sets the show apart, creating a theatrical experience that is less about accuracy and more about the essence of four young men stumbling toward the future.
At its core, the show is powered by the band itself. Michael Hawkins brings a jagged wit to John Lennon, capturing both his acerbic humour and his restless ambition. Guy Freeman’s Paul McCartney is defined by warmth and tenacity, a figure already leaning toward leadership while still vulnerable to the uncertainties of youth.
James Jackson conveys George Harrison’s quiet intensity, and Nick Sheedy, tasked with portraying both Pete Best and Ringo Starr, handles the double duty with agility, giving each drummer a distinct presence. Together, this ensemble conjures the raw camaraderie of musicians who are at once hopeful and worn down, sparring with each other even as they forge their identity through relentless repetition.
The musicianship on stage is key to this authenticity. George Francis’s musical direction strips the sound back to the raucous, guitar-heavy rock that would have echoed through smoky cellars and neon-lit clubs. The live playing is deliberately rough around the edges, eschewing polish in favour of rawness — a choice that feels not only appropriate but vital to the story being told. Missed cues, ragged harmonies, breathless riffs: all are folded into the texture of the evening, presenting not the perfected Beatles of later fame, but the imperfect band-in-progress they once were. These moments give the production its heartbeat, reminding us that greatness is forged not in perfection, but in persistence.
Andrew Schofield’s portrayal of Alan Williams provides an essential counterpoint who holds the narrative throughout this production. His personal story mirrors that of the young Beatles ‘manager’. He brings a weathered authority, grounding the chaotic energy with a figure of both pragmatism and sentimentality. His scenes anchor the play in a recognisable reality, while his subtle humour adds depth to what could otherwise have been a purely functional role. The wider ensemble also deserve credit for their comic timing, injecting levity into the relentless cycle of gigs, hangovers, and late-night travel.
Visually, the production thrives on efficiency. Alfie Heywood’s set and costume design evoke the period with restraint, sketching out cramped backrooms, claustrophobic clubs, and weary streets through sparse but effective staging.
Fletcher keeps the action moving in short, kinetic bursts, echoing the repetition of nightly performances while avoiding stasis. Carrie-Anne Ingrouille’s choreography and movement work adds another layer of authenticity, shaping the physicality of the cast into something that feels rooted in the era without tipping into parody. Lighting design captures the duality of Hamburg nightlife: neon-fuelled glamour undercut by shadow and grit.
The script itself leans into myth-making. By framing Hamburg as a memory, it sidesteps forensic detail in favour of atmosphere, giving audiences a sense of how it felt rather than how it precisely unfolded. This approach celebrates the risks, the laughter, and the unpredictability that define artistic beginnings, while also raising questions — albeit gently — about how myths are constructed around young artists. For Beatles aficionados hungry for deep historical nuance, the play may feel too forgiving, but for most audiences, its warmth and immediacy will prove irresistible.
Shake It Up Baby ultimately succeeds as a theatrical celebration. It is less an exposé of the Hamburg years than an invitation to revel in their chaos, driven by the electricity of live performance and the authenticity of local talent. What it captures, above all, is the messiness of becoming: the sweat, the noise, the missed notes, and the fleeting moments when it all comes together.
For those who love theatre with a live-wire pulse, or who simply want to be reminded of the power of four lads to change the world, again the Epstein Theatre has delivered a rousing night out, in fact the Epstein Theatre is the only place in the world that this truly unique production could take place, both in name and because of its unique space.
In many ways this story transcends the music, if that’s possible. It would be unfair to single out one performer for a special mention as all the cast contributed to making the spectacle what it is, as each member displayed a high degree of professionalism giving testament to the notion the Liverpool is the UK ‘Capital of Talent’.
If you are a fan of ‘Mersyebeat’ go and see this, if you are a fan of The Beatles go and, if you see this, if you are a fan of excellent musical theatre you definitely must go and see this.
Shake It Up Baby
Until 11 October
Epstein Theatre
Tickets
