Two new musical productions currently running in London offer contrasting explorations of mid-20th century American cultural and social themes, with both evoking distinctive eras and complex personal stories.

“Midnight At The Never Get,” staged at the Menier Chocolate Factory until September 12, is a cabaret-style drama set in a fictional gay bar in New York City during 1965. The show features Trevor, portrayed by Ben Platt, and his pianist partner Arthur, played by Gregor Milne, navigating a world where homosexuality was criminalized and hidden beneath the surface of public life. The musical, with music and lyrics by Mark Sonnenblick, includes original jazz-influenced songs that pay tribute to the Great American Songbook while capturing the emotional struggles and desires of its characters. Trevor’s falsetto vocals underpin numbers that range from melancholic reflections on love to more playful, even cheeky tunes like “My Boy In Blue,” an homage to a police officer.

David Cromer’s direction emphasizes atmosphere through a single set design by Scott Pask, which recreates a 1960s Greenwich Village cabaret with finely detailed elements such as lamp-lit tables and mirrored walls, helping transport audiences to the era. Reviewers have noted the authentic period feel and the poignancy of Platt’s performance, with his heartfelt singing and vulnerable portrayal of a performer living on society’s margins. However, some critics point out that the relationship between Trevor and Arthur feels underdeveloped, leaving Arthur’s motivations and emotions somewhat ambiguous. Additionally, the narrative’s latter part, which addresses growing tensions leading to the Stonewall riots of 1969 and commercial pressures that challenge the duo’s bond, has received mixed responses for its dramatic execution.

Also running in London until August 16, “Here Comes J. Edgar!” is a musical satire focused on the life of FBI director J. Edgar Hoover, starring Bryan Batt. The show takes a playful retrospective approach, depicting Hoover’s rise to power and controversial legacy, including his surveillance of civil rights leaders and alleged private life. It is structured as a musical pastiche with a score by Peter Matz and punctuated by humor from writers affiliated with well-known comedic television shows. The production includes lighthearted references to Hoover’s supposed cross-dressing and his long-term personal and professional relationship with his assistant Clyde Tolson.

While the musical aims to balance historical commentary with comedy, some reviewers feel it leans too much towards geniality, lacking sharper satire that could fully capture the complexity of Hoover’s impact. Despite this, Batt’s performance and the show’s irreverent tone have been noted as offering an entertaining, if not fully incisive, look at a figure who wielded significant influence over mid-20th century American politics and social life.

Together, these two productions provide distinct lenses on American history and identity: one a tender, music-driven glimpse into pre-Stonewall queer life, the other a broad, comedic retelling of a powerful and enigmatic government figure. Both highlight intricate stories shaped by the social attitudes and cultural currents of their respective periods.