I was disappointed that an iteration wasn't preserved with Sands and Porter -- fully understanding that filmed editions come with their own timing and contractual issues -- but was pleasantly surprised by the strength of this London company. The two leads, Matt Henry, the Olivier-winning Lola, and (especially) Killian Donnelly, the Charlie, were wonderful. I early on warmed to Donnelly, an entirely different type of actor than the boyish Sands, with his almost Meatloaf vocals. He made the character's turns into intolerance believable and so his "woke" epiphany in his call to Lola was all the more memorable. He seemed closer to the Edgerton type in the film. The show also benefits, logically, from Brits playing Brits, but this was a lovely filmed performance. Mitchell's choreography was well (enough) filmed. It was a straightforward take, but I appreciated the many full-proscenium angles to get the sense of the show being, well, a show. The Lauper score (which I seldom listen to), especially the first act, is a model of how to use uptempo numbers to keep a show moving. I was reminded that it seldom slows, unstopped by the kind of power ballads that often weigh down less successful pieces (though I'm not as big a fan of the 2nd act).
It has seemed under the radar. So glad I didn't miss it.