A sold out show, a buzz of excitement and anticipation as the café at Modern Art Oxford fills. The 8 cast members are sitting amongst the audience chatting. Director Scott Bolohan is on the door checking your name off and encouraging everyone to take photos, tweet etc. and enjoy! What to expect, what will happen? Well first, it's a café so let's buy a drink... coffee anyone?

A coffee shop isn't a really anything new as a comedic setting but what's different about Queueue is that our medium will be a musical; a funny, thought-provoking tale of our time, giving us an immersive 360 virtual reality check with some fine tunes from composer Stephen Hyde (The Marriage of Kim K) and lyricist Leo Mercer (The Prophetess, The Marriage of Kim K).

Hyde says that he had a notion of Wonderland for their collaboration, while Mercer was fascinated by the Web; so our odyssey takes us through the computer screen rather than a looking glass.

Waking to a new day the ensemble rouse us with 'Young Blood' and the script sets the scene for what is to follow. Our setting is the eponymous Queueue, a cool café which is run by Jazz (Ben Christopher), a hipster barista owner, who not only has a passion for quirky beans and grinds, but is fascinated by the eclectic crowd inhabiting his frothy world and living their lives courtesy of his free Wi-Fi.

Jazz is our guide, somehow anonymous and unseen while his customers browse, chat, follow, like, poke, get spammed, get hacked, crash, are trolled and succumb to various mishaps and mayhem along the way. The virtual world of Tinder, profiles, incessant ads, lists, top 10 things to do on holiday, how to boil an egg, emojis, Twitter and txt spk, plus a million and one useful/useless things are artfully worked into and around the cacophony and buzz of the coffee shop. Although all this action is on your screens, it is given life by multiple voices and one can only think it Bedlam!

We are sitting with the lovely but very stressed Alice (Jemimah Taylor) an ambitious, over-worked analyst with a long 'to do' list. Her task seems to be to pitch online loans to people who don't want them and to deny them to people who do! How mad is that? As her own solo foretells, she must ' Power Thru' to get along.

Cody (Charles Styles) blows in for a double espresso. He exudes the overconfident vibe of a financial services IT expert, but he's also the sinister hacker with source code in his DNA (do you see what they did there!). The dark and powerful 'Invisible' hints at the Dark Web and with a rap riff in the middle suggestive of his nefarious deeds and motives– Styles recently played the 'Phantom' and brings a fine ironic dose of operatic style to his performance.

Zoe (Jess Bollands) is a wannabe YouTube-starlet, who just wants to have fun, be famous and out there! She's getting lots of likes for her song, but will it last, do her public truly love her? As we learn she just wants to be 'Queen of the Cats'. Shades of familiar mannerisms from hopeful Pop Idol and the Voice hopefuls colour her singing runs. It's all fluffy and sweet like a caramel latte with extra marshmallows.

There is a funny interaction from Lea Kambskaro-Bennett who manifests herself as Alice's virtual personal assistant (the helpful or not so version of Siri) to sing 'Error 901' – Kambskaro-Bennett is one of 3 Oxford Belles (Oxford University's all girl A Capella group) in this production.

Alice, with too many things to do, is side-tracked as she browses, leading us into 'PK Rastinate' and some funny lyrics and lovely harmonies between Alice and Tyler (Sam Lupton) but the warning for us is there in being sucked into some of these sites that seem innocent and fun but aren't what they seem.

As with all the best boy meets girl, boy loses girl, boy gets girl back musicals we have an unavoidably clichéd happy ending, but that's absolutely fine and there are some good harmonies worked across the space of the room in 'No 1' leaving just enough room for a rousing choral finale with '9 Revolutions' (thumbs up x 3, lols and general lovehearts!).

This was great fun in a different space; it was imaginatively directed and conceived by director Scott Bolohan and assistant director Rose Taylor. The actors weren't miked up and so had to work hard to project their voices well across the room; it's also a challenge to hold harmonies at distance but on the whole these held well. Special mentions must go to Jemimah Taylor whose voice is fresh and natural and strong; comedy turn and physicality to Ben Christopher; crazy psycho 80s rock impersonator to Charles Styles; and everyone for the incredible energy and passion they gave to the performance.

There's a lot in the funny and clever script and although at times some of the themes whizz past and other things are a bit surreal to catch everyone was captivated and all concerned are to be congratulated on a fantastic piece of modern musical theatre in an unexpected setting… More coffee anyone?