My word, it is with disbelief that the following words are written. Everybody who visits the Peacock Theatre within the next couple of weeks will without a doubt agree that they like it hip hop, even if they didn’t do so before. ZooNation Dance Company are due some serious thanking and kissing of feet for bringing Some Like It Hip Hop to life. Now, it may sound like a bit of light-hearted banter, but in all seriousness there are no words that can justify this phenomenon. Five stars are frustratingly just not enough, resulting in this to be a very hard piece to write; if possible, Some Like It Hip Hop is too good.

Following in its predecessor Into the Hoods’ footsteps, hip hop and theatre get on like a house on fire... with fireworks, putting most musicals to shame. The fact that there were some amplification issues is irrelevant as music, set and design were utterly on point, entailing zero weak spots. This show deserves a future more than any other so that any picky, minor problems can be dusted off; they are of little importance where this show is concerned. Assumptions may lead to a belief that shows of this nature can run the risk of being slightly cheesy, however, ZooNation failed to embarrass themselves. Some Like It Hip Hop is proof that sheer magic occurs when the importance of hip hop is acknowledged by theatre, especially when it is of as gobsmacking quality as this. Evidently, dance should not be struggling in today’s society as director Kate Prince’s creation just goes to show.

The surprisingly heart-capturing story follows an oppressive governor who has locked in the city and those who are worthy, while the rejected remain outside in the cold. He runs a pretty tight ‘no books allowed’ ship where everyone must prove themselves fit and women are put in their place. When Jo-Jo Jameson, Kerri Kimbalayo along with the lovable Sudsy Partridge endure a slip-up, they are banished, much to their dismay. However, an opportunity soon arises to enter back into the city, but only for men. The two ladies are of course struck by an idea, and comically man themselves up (moustaches and all) to join the adorable, book-loving Simeon Sun. It must be noted just how side-splittingly funny this show is throughout, and it comes with all the perks of a good story. Theatrically, the whole thing is accurately brilliant. With the help of some exquisite on-stage singers plus the genius that is DJ Walde, the accompaniment is enough to make you purchase the soundtrack without hesitation, and Ben Stones’ set design is superbly unique. Choreographically? Just wow. The hip hop language these bodies execute is sublime and fits right into the theatre as though it has belonged there since Day One.  The choreography lacks any imperfection and is well and truly up to date, although we are treated with much delight to a rendition of ‘The Carlton’ in the infamous seduction scene. Each and every scene proves to be the best scene: an impossible treat danced out before our eyes.

The whole plot is narrated by the multi-talented Tachia Newall who encourages the entertainment that seems impossible to beat. Shaun Smith’s Sudsy is infectious, and along with Natasha Gooden who plays the beautiful daughter of the governor, they are both out of this world in regards to star quality. And that goes to every performer involved. Despite the existence of your typical leading roles, each star steps up and shines, equally overflowing with talent within their own expertise. Duwane Taylor’s empowering popping and locking vibrates straight through your heart, teaming up nicely with Teneisha Bonner, an astonishingly memorable dancer, not to mention actress. Lizzie Gough makes up one half of our simply perfect leading couple, reminding us why we fell in love with her So You Think You Can Dance appearances. And the other half is the unbelievable Tommy Franzén. While watching this artist at work, the thought that there is only one of him becomes particularly prominent, realising just how unreal this talent is. Alongside the rest of the cast, each individual is in a league of their own, and together have created something quite extraordinary.

It is with great shame that the justice this piece of theatre deserves cannot be written into words. No matter how familiar you are with hip hop, an awe-stricken (not to mention wild) audience is what you get, and the wonder that such a thing exists. Some Like It Hip Hop, I salute you as arguably one of the greatest theatrical experiences alive. May you live on, or there’ll undoubtedly be hell to pay!