REVIEW: OIL & WHISKEY by Kit Nolan & Dax Wiley at Old Red Lion Pub & Playhouse 3 – 18 September 2026
“This masterpiece deserves an audience, so go out and give it one.” ★★★★★
What a night at the Opry-a.
Assume from here on out that the cast are supremely musically talented. The skill and sheer range of each is stunning and had the effect of making a small London venue measure itself in acres. This is something both cast and crew will have to get used to as there can be no doubt that Oil and Whiskey is going to be very big indeed. You have been warned. Book now or commence the TodayTix pre-grovel.
In fact, this show boasts so many names in future lights that energy saving measures should, at the very least, be considered.
Before going into individual performances, a full line of credit must be extended to the band and background singers. As well as being spectacularly gifted, they are at the heart of things and work so effortlessly alongside the cast that it was staggering to learn that they only joined for the London shows.
The staggers continue as this is, in fact, a play of multiple debuts and the first offering by producer, musician and writer Kit Nolan, who we will so obviously be hearing from again that it feels like he’s already talking to us. Paired with the excellent and already-much awarded playwright Dax Wiley, this formidable writing and composing team bring some much-needed country joy to a post-Dolly world. Producer Alexa Karas’s brilliant stewardship makes this possible and we have her to thank for bringing the show Brit side.
So, to the cast, a group of spectacular performers who came together in a room in North London and created glum’s opposite.
Firstly, Juliet Perel in a remarkable performance as Zelda, a down on her luck Pulitzer aspirationalist, dismissed from the New York Times to work in a bar, and condemned to meet up with the one that got awry, a former flame who left to make it as a country star. Perel is nothing less than exceptional, imbuing Zelda with wit, charm and vulnerability. Her ability, outstanding, her connection to the audience, palpable. I’ve never seen anything quite like it.
Cornelius Versa has a wonderful turn as love interest/sometime Nashvillain of the piece, Teddy. Re-entering Zelda’s life with an ain’t-you-just-the-darndest-thing swagger, his portrayal of flee-the-scene boyfriend never enters fuckboy territory. Admittedly his one-man aria decrying prophylactics might tip in that direction, but Versa brings a real emotional depth to the character elsewhere and ably resists pastiche. And that voice.
If there was a smarter word for triple good with cheese on top, then it would describe Sarah Giulianti, who dazzles as Zelda’s best friend Bree. Her vocals, presence and comedy chops are fabulous, and she is obviously having enormous fun in the role. Her withering put downs, excellent dance moves and the love she has for her friend bind the whole show together. A standout duet with bartender and self-appointed narrator extraordinaire Ray deserves particular praise.
Who is Ray you ask? An outstanding KJ Nugin as it happens. Part compere, part Bourbonic confidante, Nugin has an audience of Northern Line eye contact dodgers gamely “hollerin and swallerin” throughout. It was, I’ll concede, more than a bit moving to see such collective joy on display and Nugin’s ability to bring this forth was outstanding. Nugin’s talent and nuanced performance cements Ray as the show’s moral compass. It really couldn’t get better.
At this point, you know I like it, right? Well, that is in large part due to Yuval Benit’s superb direction and choreography, that deftly weaves the honk to the tonk, and brings together the performances, music and movement into something unforgettable. The chemistry between those on stage is clear, as is a match-fit readiness that, once again, is astonishing given the changing faces since the Edinburgh and New York runs. Benit is clearly another star in the making.
As to other matters, there’s a level of light touch audience interaction that gives attendees a level of non-squirmy involvement and those concerned about volume could consider getting their Loop’s out as the show is concert loud but that didn’t seem to bother Saturday’s audience.
All told, Oil and Whiskey is a word of ear hit and a sparkling monument to hee-haw, built on the strongly Partonian principles of fun, warmth and acceptance.
This masterpiece deserves an audience, so go out and give it one.
