NERDS - Curve Theatre Review

★★★★★

Fringe theatre has a certain superpower: taking the unlikeliest of subjects and transforming them into musicals. From serial killers to SpongeBob, there’s nothing too niche. But these shows usually fall into one of two categories: gloriously bonkers or unexpectedly brilliant. So, where does Nerds, the tech-infused musical comedy now playing at Curve Theatre, Leicester, land on that spectrum?

Dan Buckley (Bill Gates) and Kane Oliver Parry (Steve Jobs) - Photography by Jonathan Pryke

This punchy, one-act show charts the (exaggerated) rise of Silicon Valley’s two biggest icons: Steve Jobs and Bill Gates. Starting out as scrappy, garage-bound tech geeks, we follow their journey from rivalry to domination, with plenty of side-eyes, sabotage, and Silicon-fuelled ambition along the way. The question looms large: who will triumph in this nerd-off — the Apple-flavoured innovator or the Microsoft mastermind?

The first thing that strikes you about Nerds is how genuinely funny it is. And not in a polite chuckle-to-yourself kind of way, there are full-on “LOL” moments throughout. The book and lyrics by Jordan Allen-Dutton and Erik Weiner are smart, punchy, and packed with tech puns, clever references, and brilliantly timed gags. Beneath the comedy, though, is a surprising amount of factual backbone, from Apple ‘stealing’ the mouse, to Microsoft’s not-so-subtle copying of Apple. The writers clearly know their source material, and it’s this grounding in reality that gives the show its bite. It’s not just a comedy; it’s a surprisingly sharp reflection on ambition, ownership, and legacy.

Hal Goldberg’s score is exciting and full of energy, leaning into the musical styles of contemporary shows with catchy hooks and beats. Many of the earworms will make their way onto Spotify Musical Playlists once there is a cast recording. If anything, it might have been interesting to see the music echo the decades covered in the show, from '70s synths to early 2000s pop, to help anchor the timeline as the story zips forward at a fast pace. Not a flaw, but a potential opportunity for future revivals to embrace.

Dan Buckley (Bill Gates) and Kane Oliver Parry (Steve Jobs) - Photography by Jonathan Pryke

The eight-person ensemble cast delivers this tech-fuelled rollercoaster with infectious energy. They each switch between characters with ease, and the chemistry on stage is fun. At the centre of it all is Dan Buckley as Bill Gates, in a performance that is nothing short of mesmerising. Buckley charts Gates’s arc from awkward, nerdy outsider to ruthless corporate overlord with bite and an incredible sense of comic timing. His delivery is consistently on point, and when the show demands it, he absolutely dominates vocally. During a string of tightly packed rap sequences, Buckley doesn’t just keep up; he owns the moment. His rhythm and charisma make it clear: this is a leading man in full command of the stage.

Opposite him, Kane Oliver Parry brings a wildly entertaining Steve Jobs to life. Parry is effortlessly funny, especially in the surreal moments where Jobs touches household objects and “foresees” the future of tech — cue an early prediction of the Apple 2. It’s ridiculous, and it absolutely works. There’s also real emotional heft behind the comedy: Parry delivers a powerful mid-show ballad following Jobs’ downfall that silences the room. His performance is slick, charismatic and surprisingly layered, and his portrayal of Jobs as a rockstar sex symbol in the nerd world is an absurd strokes of brilliance.

In the supporting cast, Ethan Pascal Peters (as Steve Wozniak) and Elliot Evans (as Paul Allen) are perfect scene partners to their more dominant tech titans. Their performances add real heart to the piece, and plenty of laughs. Peters in particular is magnetic whenever he’s on stage, with elastic facial expressions and a sharp instinct for comic timing. He lands every joke with precision, often stealing the scene with just a raised eyebrow or a well-placed pause. Together, Peters and Evans bring both warmth and wit, providing the perfect foil to the power-hungry ambitions of Jobs and Gates.

Kane Oliver Parry (Steve Jobs) - Photography by Jonathan Pryke

Nick Winston directs and choreographs with a clear eye for chaos, in the best way possible. The choreography may not be polished to West End gloss, but it is unapologetically hilarious, leaning hard into physical comedy with wild, unrelenting energy. There’s a kind of glorious mayhem to it all. In fact, the physical humour is some of the best I’ve seen this year, and Winston knows exactly how far to push each gag for maximum payoff.

Yes, there were a few slips — a missed cue here, a fallen prop there — but this was only the second performance of the run, and the cast handled it like pros. The little hiccups added to the charm, and it’s a testament to the company’s professionalism that the pace never dropped. 

At just 1 hour and 10 minutes with no interval, Nerds is perfectly timed. It delivers everything it needs to without overstaying its welcome. Any longer and it would be swimming in overindulgence. Some songs appear and disappear quickly, but extending them wouldn’t serve the pace or the punchiness of the storytelling. That said, if there’s one number that slightly overstays its welcome, it’s the “Merger” song, a songt that echoes The Book of Mormon’s “Baptise Me,” but doesn’t quite land with the same impact. Still, this is nitpicking. For a fringe production, Nerds is remarkably tight, confident, and brilliantly entertaining.

Dan Buckley (Bill Gates) and Teleri Hughes (Myrtle) - Photography by Jonathan Pryke

The romantic subplots, featuring Sally (Elise Zavou) and Myrtle (Teleri Hughes), are handled with refreshing clarity and strength. These are no background love interests, both actresses ensure their characters command space and agency on stage. Zavou brings a real presence to Sally, portraying a woman who’s smart, grounded, and not just there to serve the egos of the men around her. In the hands of a less capable performer, Sally could easily have been reduced to a narrative device, but Zavou gives her weight and wit.

Teleri Hughes is an absolute highlight as Myrtle. From rejecting Bill Gates’s clumsy advances during the “Merger” number to delivering binary jokes, she lights up the stage. Her appearance in a full Chess costume had the audience in stitches. Hughes combines sharp comedic timing with undeniable stage presence, and it’s a joy to watch.

Julie Yammanee brings flair to the role of Tom Watson from IBM, a character that admittedly feels somewhat tacked onto the storyline. Even so, Yammanee’s presence elevates the part, and her work across multiple roles in the ensemble is a testament to her versatility and precision.

Kane Oliver Parry (Steve Jobs) and Elise Zavou (Sally) - Photography by Jonathan Pryke

But it’s Curtis Patrick who arguably delivers the biggest laugh of the night. Whether playing Dustin or the Microsoft Henchman, he brings a cheeky charisma to every scene, but it’s his bloodied surprise appearance during the final bows (a nod to the Jamie Lloyd school of postmodern lunacy) that brought the house down. It was unexpected, bizarre, and absolutely brilliant.

Overall, Nerds is one of the most enjoyable studio musicals I’ve seen in recent memory. It might not have the polish of a West End blockbuster, but it doesn’t need it. What it offers instead is a whip-smart book, genuinely funny songs, memorable performances, and a knowing wink to tech culture that’ll delight geeks and non-geeks alike. Fringe theatre at its best: bold, clever, and brimming with heart. Go see it — and take your inner nerd with you.