Ronan Keating broke my heart in the Nineties and last night he did it all over again

It is universally acknowledged that if ones musical is losing momentum, than that musical must be want of stunt casting. Well, that was my mood approaching Once, the mighty West End powerhouse that recently announced its forthcoming closure in March 2015. As a tonic, former Boyzone front-man Ronan Keating has been chosen to lead the show from now until spring.

The decision was always going to ruffle feathers; another pop-star making a West End debut has infiltrated most of Theatreland's long-runners to mixed success. But if I had a hat, I would eat it, because this one is the real deal.

Based on the indie sleeper hit film, Once is the story of guy meets girl. Guy is a broken-hearted busker with a gig at his dad's hoover repair shop. Girl is an energetic young mother from the Czech Republic. Guy is about to pack in the music, believing his heart irrevocably broken, but Girl likes it so much she sets about restoring Guy's faith in music, humanity and love. And besides, she has a broken hoover that needs fixing.

Strung together with Glen Hansard and Marketa Iraglova's soaringly powerful songs penned for the movie, including the Oscar winning 'Falling Slowly', Once is a simple, bitter-sweet show that plays directly to anyone who's ever had a broken heart, by beautifully and powerfully ripping out the audience's heart in 120 minutes.

With an excellent cast of musicians and actors, revolving round the stage and the two leads, it's not preachy or saccharine, it's witty and realistic. Jill Winternitz plays girl with an infectious glee, layered with recognisable pain. Against her, Ronan Keating fully embodies the role of an awkward and sensitive balladeer with a sweetness that made me forget all about the teen idol of the past. When his indie togs are forcibly replaced by an ill-fitting, shiny suit (it's lucky apparently) for a visit to the bank manager ('You dress like a homeless person'), he perfectly inhabits it, with a modest quietness. You can believe that Guy was on the verge of giving up, the more surprised he is by the turn of events, the more endearing he becomes. His voice is tested and fully lives up to the score, deep and emotional. I especially moved by 'Leave', his first introduction song.

Bob Crowley and Natasha Katz's exquisite stage and lighting design lives up to the space, with 52 mirrors suspended in a local pub setting, reflecting the audience back on itself. This vantage point made the auditorium feel far more intimate and along with inviting the audience to grab a drink on the stage at the interval, you feel very welcome.

In compliance with the film, Once doesn't care about answers, or fairy tale endings. Its a glimpse of the effect that chance can have on us, wrapped up in a rich but realistic world. Give it your full attention and you'll feel something stir, I certainly did, leaving the theatre with a tear in my eye and the knowledge that life can be futile, but beautiful if you let it.

Great night out for?

A date. Show them your emotional depths.

Recommend to friends?

Masochists, those who may describe themselves as 'anti-musical', folk fans.

Best bit?

Going for a walk along the cliffs at night- oh god I'm going to cry again.

Morning after effect?

Keating's got pipes, man.

By Kitty McCarron @ThisisKittyMac

View our show pages for more information about Once, Phoenix Theatre.