The Battle is a brand-new play by John Niven, set firmly in the nineties, that focuses on the Britpop fight between chart rivals Blur and Oasis. Opening at Birmingham Rep before transferring to the spiritual Oasis home of Manchester, the question is: is this worth donning your bucket hat, heading to the theatre, and enjoying the show to the end, or will you look back in anger when you leave?
It is London, 1995. The infamous Britpop battle begins when both Blur and Oasis release singles on the same day. On one side, clean-cut, art-school intellectuals from the South. On the other hand, raw and unapologetic lads from the North. Let battle commence!
The Battle is John Niven's first stage play, and he doesn't take the easy route. Deciding to bring both known people, detailed and multiple scenes and ambitious storytelling to proceedings. And for the most part, it all comes together to create a coherent whole.
The casting director Claire Bleasdale has assembled a talented group of actors to create these iconic performers. Alongside director Matthew Dunster, great performances are brought to the stage, though at times they are just a little over-caricatured.
Of the two groups, Blur and the actors within fare the best, with less overt stereotyping of the characters. Both Oscar Lloyd as Damon Albarn, as well as Will Taylor as Graham Coxon, are especially likeable. Lloyd brings out the intellectual nature of Albarn very well, but still wants to be one of the lads despite his liking for risotto. Taylor, meanwhile, is a wimpish character, willing to hide in his bathroom away from the braying press and not wishing to look a bosom in the eye in the pursuit of fame. Brandon James also delivers a fully rounded performance as Alex James, Blur's bassist. It's a tremendously confident performance for his professional stage debut.
The Oasis boys are less well realised in Niven's script, with their personas feeling extremely stereotypical, especially Liam's. Leaving George Usher in the role, little other than stalking and swearing. While his character has little depth, though, he does create many comedy moments in the show. Paddy Stafford’s Noel is more of a success, but this is only because his nature leaves less for overwriting of the part.
The two best-known cast members are second fiddle to the main event, with Matthew Horne absolutely fine in the role of Andy Ross, the music executive for Blur, but given very little to do and having little impact on the show. Louisa Lytton is equally underused, despite appearing as a few characters, including Noel's then-girlfriend, Meg Mathews.
The set from Fly Davis is a hybrid beast of plinths, window screens and a plethora of furniture, and effectively creates many an environment, if at times used a little pernickety by director Dunster and, on one occasion during a Blur-based scene in the second act, blocking many a performer on a few occasions. Davis has also designed the costumes, and here the work is superb, evoking the era brilliantly.
While you might expect this to include elements of music, this production does not feature any live-performed numbers of Blur or Oasis; snippets of these are just peppered throughout in video montages during scene changes, of which, as already alluded to, there are a few. Within these scene changes, there are also excellent animations by John O'Connor that evoke the
Beavis and Butt-Head era of cartoons. Many of these animations feature DJs of the era, adding a nice production polish to the show.
The Battle culminates in a truly surreal, but disturbingly satisfying way, which the producers rightfully request be kept secret for the enjoyment of others.
So, yes, there are certainly quibbles to be had at The Battle. However, for a likeable snapshot of a very specific era, this production delivers a highly entertaining show, and if you were there, you should be here.
The Britpop battle lives on in this sharp telling of an iconic moment of a generation.
⭐⭐⭐⭐
Performance reviewed: Tuesday 17th February, 2026, The Birmingham Rep Theatre.
The Battle plays at the Birmingham Rep Theatre until Saturday, 5th March 2026.
For further details about the Birmingham Rep and to book tickets, see their website at https://www.birmingham-rep.co.uk/
Production Photos: Helen Murray
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