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Pied Piper Review – Creative and DT Ambassadors

Published Monday 23rd Feb 2026
"I recently attended the production of Conrad Murray's Pied Piper at Derby Theatre and was struck by its innovative use of hip-hop as a storytelling tool."

Conrad Murray’s ‘Pied Piper: A Hip Hop Family Musical’

The productions heartbeat was its unflinching reliance on the crowd; by weaving the audience’s own vocal landscape into the narrative, the cast crafted a kinetic and deeply memorable atmosphere that turned the theatre into a living, breathing cypher.

This rendition of the Brothers Grimm’s Pied Piper of Hamelin is a masterful fusion of dance, music and drama designed to champion hip-hop theatre as an accessible, innovative art form for the next generation. The production hums with a high-energy pulse reminiscent of the historical “Dance Mania,” yet it carefully preserves the liminal spacing necessary to keep the fairytale atmosphere feeling other-worldly and immersive. Most striking is the show’s propulsive interactivity; much like a traditional pantomime, characters frequently break the fourth wall to engage the audience. However, by replacing standard tropes with beat-boxing and live looping, the cast uses this participation to drive the narrative forward, successfully reimagining the classic story as a vibrant, participatory call-to-arms for young creatives.

The production’s sonic architecture is a masterclass in innovation, repurposing the organic human voice into a cold, industrial soundscape. Through intricate layering and beatboxing, the ensemble constructs the rhythmic clatter of factory machinery and the unsettling, skittering presence of the rats, effectively replacing traditional instrumentation with vocal sound design. There is a profound irony at the play’s heart: while the stage vibrates with technical vocal mastery, the narrative’s children are systematically silenced- stripped of their freedom of speech and denied creative expression. This tension between the vocal representation on stage and the thematic suppression of the characters’ voices adds a haunting depth to the storytelling. Furthermore, the use of live looping is technically imperative; it builds a relentless, propulsive momentum that sustains the show’s high-octane pace over its 80- minute duration, ensuring the energy never falters as the musical reaches its crescendo.

Pied Piper’s noir aesthetic is masterfully established through stark, moody lighting and a heavy use of haze, which drenches the pie factory in a sense of industrial gloom. This visual grit mirrors the show’s darker themes, with shadowy silhouettes and glowing- eyed rats heightening the otherworldly tension. These technical choices ensure the “music ban” feels physically oppressive, grounding the high-energy hip-hop beats in a visually haunting and immersive urban landscape.

Ultimately, the Pied Piper serves as a vital personification of a world where, as he himself states “music, art, and creativity is valued.” This production is a vibrant testament to the power of finding one’s voice, making it an essential recommendation for families with young children. The auditorium, crackling with palpable excitement and vocal involvement, proves that hip-hop theatre is not just an art form- it is a community experience. It is an unmissable, high-octane celebration of creative freedom.

Credit to the Cast & Creative Team

· Concept & Story Co- Created by Conrad Murray & Lara Taylor

· Written, Composed & Musically Directed by Conrad Murray

· Co- Directed by Conrad Murray & Ria Parry

· Assistant Direction by Amelia Thornber

· Movement Directed by Gavin Maxwell

· Dramaturgy by Lisa Goldman

· Set & Lighting by Lisa Goldman

· Set & Lighting by Ben Pacey

· Costume Design by Erin Guan

· Sounds Design by Ed Clark

· Dance Captain by Alex Hardie

· Production Company: rODIUM Ltd is produced by imPOSSIBLE Producing

· Original Performers and Devisers: Conrad Murray, Kate Donnachie, Lakeisha Lynch- Stevens, Alex Hardie, Ananya Panwar, Aziza Brown, David Bonnick Junior & Chris Maylor

Shellbii Barton, Creative Ambassador

Pied Piper Review 

A strong, rebellious production; propelled by the immense beat-boxing abilities and powerful vocals. “Pied Piper” (A Hiphop Family Musical) is a re-telling of the classic legend, The Pied Piper of Hamlin.

In this fresh twist, we find ourselves in the town of Hamlin, where the kids in the pie factory are rising up against the mayor who has banned music. The factory also has a serious rat problem! What can be done? Will the mysterious figure of the Piper help them, armed with only his voice and a microphone, or does he have more sinister intentions?

The flow and rhythm of live-looped music added beautifully to the storytelling and humour. This combination created a buzz from the audience – children and parents alike. It was electric!

The amazing professional cast of David Bonnick Jr, Aziza Brown, Celeste Denyer, Jevoughn Greg-Fuller, Alex ‘ABH’ Hackett, Alex Hardie, Catriona Malbaski and Conrad Murray all gave immense vocal performances. They were joined by a group of extremely talented local young people; who were showcased beautifully in solo and ensemble work at various points in the show.

Audience participation and interaction is integral to this production and enhanced the atmosphere; learning a little beat-boxing yourself along the way, made the story all the more immersive.

A production for all the family! “Pied Piper” is proudly expressive and creatively unique. An absolutely joy to watch. The show is now touring around the UK until March 25th.

Georgina Salwey, DT Ambassador

I had the privilege of watching, ‘Pied Piper’ on Saturday 21 February 2026 by BAC Beatbox Academy at Derby Theatre. It is billed as a, ‘Hip Hop Family Musical’ and it certainly doesn’t disappoint. If you’re wanting to know the Pied Piper story, you’ll be disappointed but if you want collaboration, interaction and full immersion, then you’re in for a treat.

The cast of seven (including Conrad Murray, who is the writer and co- director), create a spectacle through ensemble performance, bringing hip hop to the masses. At times, it verged on ‘panto’ where the villain addressed the audience and was greeted with boos and hisses. However the cast’s versatility was utilised to create a soundscape for its audience. At times, it became slightly repetitive and needed slicker transitions, but the talent of the cast was evident.
It was clever to have no interval and a succinct performance in order to retain a younger audience. The inclusion of local children was priceless, as they brought their energy and enthusiasm to the stage. There was definitely some budding artists amongst them, highlighting the aim to,’ be creative and share your talents.’
During some moments, it felt as if it was still improvised but further performances will tighten this. Overall, an enjoyable evening where the audience were fully immersed into the world of hip hop through theatre.
Sarah Hadwin, Creative Ambassador
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