A few years ago I came across a group of singers called The Broadway Boys, a selection of top male vocalists from Broadway shows who take a mixture of songs and put their own unique spin on them. I was hooked from the word go. The West End Men is London’s answer to that.

The first of the performers is Glenn Carter, the old hand of the quartet who has been performing professionally for many years. His vocal range and control in the production are outstanding, particularly in his version of ‘Gethsemane’ from Jesus Christ Superstar, where he reaches vocal heights that surely defy nature.

When I saw the song ‘Year 3000’ in the programme, I let out a groan of displeasure. I had been to see Matt Willis perform in Wicked, and was distinctly underwhelmed by his performance in that. I was ready for Willis to be the weak link of the piece and was surprised that he had made it into the ranks of those believed to be indicative of the vocal talent in the West End. In truth he is not, and probably never will be, a musical theatre performer in the typical sense of the word, but he is one hell of a showman. He has a boyish, almost puppy-like boisterousness that is undeniably charming. Fully expecting to dislike it, his old Busted song is a highlight: I am more than happy to admit that Willis had completely converted me by the end of the performance.

For me, however, the stand-out performer of the night is David Thaxton. His voice is probably the best I have ever heard live. It has a real depth to it, yet his top notes are flawless and his rendition of ‘Til I Hear You Sing’ from Lloyd-Webber’s (much maligned) Love Never Dies, is absolutely breathtaking. His voice alone is reason enough to fork out for a ticket – breathtaking from start to finish. Also worth noting is the cameo from Kerry Ellis; she is as spell-binding as ever, particularly in her trademark ‘Defying Gravity’. It didn’t go unnoticed that, in spite of the name of the show, the rapturous reception she received was the biggest of the night.

Sadly, the disappointment of the performance is Lee Mead: set alongside such an array of talent, with the outrageous range of Carter and Thaxton, and the likeability and charisma of Willis, he simply doesn’t stand out. He was also struggling with his vocals and a couple of notes were fluffed in painful fashion; though probably just an off night, it is moments like those that can lose an audience.

This show is at its strongest when the quartet are performing together, with some truly stunning arrangements from David White allowing these voices to come together and harmonise with mesmeric results. Particularly impressive was their reinterpretation of ‘Kiss From A Rose’ at the end of the first half, and the West Side Story medley that opened the second.

The West End Men is a feel-good production that showcases the talent of four superb performers. Though minor flaws are clear, the overall piece is an evening of vocal supremacy when these guys and Kerry Ellis get to cut loose and perform songs in a way you will have never heard them done before. Compared to the Broadway Boys this group seem slightly more rehearsed and less playful: a more British production, you might say. But the class and style of these gents is undeniable and the songs will keep a spring in your step for the rest of the week.

West End Men is playing at The Vaudeville Theatre until June 22. For more information and tickets, see The West End Men website.