No More Bull, book and lyrics by Deborah Nicholson and Elissa Nicholson, choreography by Katie Mayfield, was written for the European School of Alicante, who performed it in the spring of 2025. We subsequently developed the piece for a professional cast and took it to the Edinburgh fringe that summer. We got some lovely reviews (below) and are very much hoping to take it further!

‘A bold reimagining of the myth of Theseus and the Minotaur, No More Bull is a fearless new musical that stuns in a pared down one hour fringe production. With music by Corin Buckeridge and an impressive cast there’s a definite recipe for success brewing here.…stuffed to the brim with a rousing musical soundtrack that draws from modern pop and rock while also incorporating some traditional Greek sounds. A mix of heart-warming ballads and exhilarating battle-cry songs construct a thrilling musical that lands incredibly well with the audience. There is a feel of 90s-Disney adaptation about this show, in the best way possible. Combined with an energetic and imaginative choreography, No More Bull blows the roof off the venue with ease.’ (A shiny life for me – theatre blog review from the Camden Fringe previews)

… ‘it takes the grim and gruesome Greek myth of the Minotaur and King Minos and sets it to an upbeat, generally optimistic score that creates a fantastic sense of juxtaposition….The music in No More Bull is fantastic, and the singing is excellent.’ (Andrew Girdwood- Edinburgh reviews)

‘There is much to admire here, this company clearly has great ambition and a war chest of rousing songs worthy of mythical Greek Gods.’ (Ferneyhough Arts Review)

‘Theseus and the Minotaur is given an injection of … pizazz by this young ensemble company, which includes some great singers, glittering costumes and a topical focus on flawed rulers and the power of the people to resist….With some stand-out singing from Emily Goovaerts as Ariadne, the cast have …consistent infectious enthusiasm which… is channelled into a rousing finale. I’m still humming it now.’ (The Scotsman)