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★★★★★ This Little Thing of Ours throws us straight into a mafia family on the brink of change. Frankie Coglione comes from a long line of mobsters cursed with terrible luck, but he’s determined to be the one who finally turns things around. Backed by his iron‑willed Nonna, he seems ready to take the top spot — until an unexpected death creates a power vacuum. Suddenly Frankie is forced into a musical turf war with Tony, a silk‑suited street boss with killer instincts. In this world, you don’t just whack someone — you give them a closing number. It’s mafia melodrama with musical theatre swagger.
I had a great time with This Little Thing of Ours. It’s exactly the sort of late‑night Fringe musical that thrives on energy, ensemble chemistry, and a willingness to lean fully into its own ridiculousness. The show promises gangster glamour, fast-paced comedy, and a live soundtrack, and that’s very much what the company delivers: loud, playful, and driven by performers who clearly enjoy being in this heightened criminal world.
It’s an ensemble‑driven piece — Dorian Todd (Frankie), Kevin Parr (Tony), Meredith Rey (Nonna), James O’Neill (Don Lorenzo), Fraser Wood (Uncle Chicky), Arland O’Hara (Irish Mickey), Megan Wright (Butch), and Joan Smith (Giuda) all contribute to the entertainment, adding value. And you genuinely feel all of them working together. It’s one of those shows where the group dynamic is the engine; nobody is trying to outshine anyone else, and that makes the comedy, music and drama land better.
Having said that, I have my favourites! I particularly enjoyed Joan Smith’s performance as Giuda, the crew’s hitman. She has a sharp, expressive physicality that makes her both funny and genuinely intimidating. She’s one of those performers who can shift the tone of a scene just by how she stands or moves, and it gives the show a nice edge. Her dancing fits the character perfectly — controlled chaos, a bit dangerous, a bit silly, and always entertaining.
Kevin Parr’s Tony is another standout. Tony is a silk‑suited street boss with killer instincts, and Parr leans into that contrast with real confidence. He’s powerful, charismatic, and very well acted — the sort of performer who knows exactly how to play the heightened theatricality of a mafia musical without tipping into cartoonishness. His dancing has that same swagger: confident, funny, and very much part of Tony’s persona.
The dancing across the whole ensemble is worth mentioning. It’s goofy in places, deliberately so, but choreographed with enough precision that it becomes part of the humour rather than a distraction. It’s blend of silliness and commitment makes the audience warm to the performers. Here, it works beautifully. The live band adds to that atmosphere, giving the whole thing a lively, immediate feel.
James Bruce’s writing is quick and playful, and Alice Humphries’ direction keeps everything moving at a brisk pace. The musical numbers slide in and out of the action cleanly, and Michael Mackay’s original score gives the show a distinctive identity. It’s not trying to be profound; it’s trying to be fun. And it succeeds.
I always judge how much I liked a musical by whether I’m humming one of the tunes on the way out the door – and with this I was (Family business).
The audience were fully on board — laughing, reacting, enjoying the ride. It’s the kind of show where the rawness is part of the charm. You don’t want it polished; you want it alive.
This Little Thing of Ours is a lively, confident, ensemble‑driven mafia musical with standout turns from Joan Smith and Kevin Parr, strong music, and dancing that’s both funny and surprisingly characterful. For a 22:30 slot, it hits exactly the right tone: expressive, entertaining, and full of personality and energy.
Reviewed by Pat Harrington
Read our interview with Composer Michael Mackay and writer James Bruce.
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