Review: Flop! The Best Songs from the Worst Musicals
Saturday 28 February 2026

Garden of Unearthly Delights – Spiegel Zelt

The rain could not keep us away from this one-man gem in the damp Garden of Unearthly Delights. An almost full Spiegel Zelt (not Spiegel Tent — as I discovered after lining up in the wrong place) was treated to nearly an hour of razor-sharp wit, powerhouse vocals and theatrical athleticism in; 

Flop! The Best Songs from the Worst Musicals — written and performed by Arthur Hull.

The venue may be one of the smaller Spiegels, but the show felt anything but small. Hull’s introduction to “the best of the worst” was delivered with vigour, humour and agility — including a handstand that set the tone for the energy to come.

We were treated to numbers from glorious money-losers including King Kong, Moby Dick, Scandalous, and Love Never Dies — the sequel to The Phantom of the Opera — as well as the legendary flop Grease 2, complete with USA flags handed out to the audience and encouragement to “do it for your country.”

There were gleeful references to Spider-Man: Turn Off the Dark (why indeed did they make that one?) and wonderfully exasperated commentary on Cats — the movie version that many felt should never have been made. Hull hilariously unpacked its creative choices, including the addition of a new character and the song written for the film by Taylor Swift, which became one of the evening’s comedic highlights.

Even Princess Diana came under fire, described (and convincingly demonstrated) as one of the most spectacularly misguided pieces of musical theatre writing in recent memory.

With so many notorious flops, you might expect the novelty to wear thin — but Hull ensures it never does. While young, he commands the stage like a seasoned veteran. His pace was relentless, weaving through these inexplicably linked theatrical disasters with the speed and precision of a Formula 1 driver. Each transition is tight, each anecdote sharp, and each vocal performance delivered with theatrical polish.
In a Fringe landscape dominated by big costumes, bright lights and large ensembles, Hull stands alone on stage for the entire performance — and never once does it feel empty. His presence fills the room.

"Arthur Hull’s powerful voice, commanding presence, boundless energy, and impeccable comedic timing fill the room, leaving the audience captivated from the first note to the last."

This young man from Albury/Wodonga region is a natural-born entertainer with an obvious passion for original, theatrical, musical and comedic storytelling. Shows like this are exactly why Fringe exists — to spotlight bold, inventive artists who can transform deep research and niche subject matter into something wildly entertaining.

And yes, the cameo by “Lord Andrew Webber” was a delightful touch.

⭐️⭐️⭐️⭐️⭐️
Five well-deserved stars. Absolutely worth your time.
Stephen Foenander
For Adelaide Review Team