Andy Fickman Archives - thespyinthestalls.com

★★★★★

“heart warming, funny and endearing”

13 Going on 30 The Musical, based on the book and screenplay by Josh Goldsmith and Cathy Yuspa, and the 2004 film, is simply great fun. An uplifting coming of age story with a whole load of real, not fake, girl power, it takes us on a journey of discovery to realise that the things which matter most are those which ground us and make us better people. Never taking itself too seriously, flashy and sassy, this world premiere was fresh and vibrant, packed with humour and a host of memorable songs.

Jenna is turning 13 and her best friend, the rather shy and ‘uncool’ Matt, thinks she is the most beautiful girl in the world. They share their lives, dreams and fun together, which is then threatened by Jenna desperately seeking acceptance into the inner circle of ‘the popular kids’. At her 13th birthday party, she is transported into the body – and life – of herself aged 30, as a successful glossy magazine executive. Thrust into a seemingly perfect life, the parties, ‘beautiful people’ and faux friendships eventually turn sour and she realises that true friendship, love and valuing the simplest, truest things in life is the answer. The plot sounds sugary and a standard ‘rom com’, but the message is delivered with a real sense of truth. Time can slip away and the decisions we make along the way change the world for ourselves and others. It’s never too late to change!

This world premiere is directed superbly by Andy Fickman, ensuring the full humour and sentiment are apparent throughout the performance. Music and lyrics by Alan Zachary and Michael Weiner provide a mixture of catchy, and emotional pieces, with some lovely duets, under the expert musical supervision of Alan Williams. The only non-original track, the “Thriller’ sequence, is a particular delight, even to those of us who did not know the 2004 film.

Lucie Jones gives a powerful and versatile performance as the lead, Jenna Rink, able to flit between the naivety of the pre-teen world and friendship and the excitement and frenzy of being ‘thirty, flirty and thriving’. Alongside David Hunter as Matt Flamhaff, their performance is extremely watchable, heartwarming and genuine. Grace Mouat as Lucy Wyman plays the perfect self-centred ambitious ‘bad girl’, originally the lead of the popular ‘six chicks’ at middle school and now in the gleeful position to offer perfectly delivered sarcastic witty retorts as she sweeps over her colleagues in seeking her own ends.

The whole cast are the best which the thriving musical theatre scene can give us. With spot on comedic timing, the cast give it everything: faultless and energetic dance routines, soaring voices and acting which was strong enough to genuinely convince us we too could still be that young person with dreams.

Special mention to the hilarious Caleb Roberts as Richard, the ‘boss’ at the magazine Poise, and the incredible stage presence and movement skills of Iván Fernández González as Darius Mark. It would be impossible to mention all the committed and talented cast, but it must be said that the young cast are every part as talented and versatile as their adult counterparts. Amelia Minto (young Jenna) and Max Bispham (young Matt) together with Emmeline D’Arcy Walsh (Becky) give shining performances and the comedic Cyrus Campbell (young Kyle) simply loves to entertain.

Colourful and captivating costumes (Gabriela Tylesova) add to the joyous and celebratory performance. The whole ensemble choreography (Jennifer Weber) is a particular joy to watch, with precision timing and movement. The set’s simplicity (Colin Richmond) makes for great efficiency in terms of transitions being seamless, and the dynamic lighting (Howard Hudson) facilitates the changing moods. The finale is visually spectacular and uplifting, featuring the perfect definition of a final number ‘Here and Now’.

A heart warming, funny and endearing show, it deserves to be counted as a strong new work in its own right, as well as a happy nostalgic throwback for those who loved the film.

Heathers

Theatre Royal Haymarket

Reviewed – 12th July 2021

★★★

“a shouty affair that drowns out much of the tragedy, truth and trauma running through the heart of the piece”

I approach “Heathers the Musical” somewhat as an outsider. In a seemingly packed, though socially distanced auditorium, I am detached from the majority of the audience. Although I am hoping to be drawn in, and accepted. Based on the eighties’ movie, which originally flopped only to become a cult; the musical rapidly became a cult in its own right while skipping the pre-requisite critical rejection that qualifies its status. What marks this production out from the start is the enthusiasm with which it is presented and received. Everything about it is heightened and it often feels like you are in a cartoon.

Set very specifically in 1989, it adopts the high school setting so popular at the time, but twists the genre into something much darker. It reaches further than the typical subject matter of peer pressure and rebellion and attempts to grapple with teenage suicide and the fatal attraction of belonging to a clique. The clique in question is a trio of girls, all called Heather, who hold sway with a swagger that pushes credibility to the limit. For reasons governed by plot clichés, the protagonist – Veronica – is desperate to run with this pack. To say that she eventually outruns them is no spoiler; we can all see it coming as visibly as the love interest side-line.

What rescues the storyline are the quirks, the shocks and body-count that we don’t anticipate. And the oddball minor characters that outshine the leads in most cases. Andy Fickman’s production is a shouty affair that drowns out much of the tragedy, truth and trauma running through the heart of the piece. The more successful moments are when the volume gets turned down and the irony and sporadic subversiveness is allowed to be heard.

Christina Bennington is in fine voice as Veronica, torn between following her fantasy (in the shape of the three Heathers) or her conscience, represented by the Baudelaire reading, enigmatic Jason ‘JD’ Dean; gleefully played with a tongue-in-cheek assuredness by Jordan Luke Gage. His rapid metamorphosis from sympathetic to psychopathic is fun to watch. Less so are the eponymous Heathers; Jodie Steele, Bobbie Little and Frances Mayli McCann who screech far too much for their own good. At least Steele has the advantage of her ‘Heather’ being killed off fairly early on, allowing her to come back and haunt the perpetrators – a sardonic ghost that sheds more light and shade on proceedings than those still alive and clinging onto a script that is pulling them under.

It is buoyed up by the music that, despite its subject matter, powers the piece with energy and optimism. Bizarrely this sense of optimism and misplaced nostalgia is what characterises “Heathers” which, in effect, is a musical about high school killers. It makes light of the issues but doesn’t succeed in highlighting them by the humour. But what do I know? As I said at the start – I am the outsider; detached from the rest of the audience. There’s no denying this is a solid production, with a dream cast of West End talent. And there’s no denying its guaranteed success. It has bludgeoned its way into its cult status – but at the cost of sensitivity.

13 GOING ON 30

Manchester Opera House

★★★★★

“heart warming, funny and endearing”

13 GOING ON 30

Manchester Opera House

Reviewed on 30th September 2025

by Lucy Williams

Photography by Pamela Raith

Previously reviewed at this venue:

13 GOING ON 30

13 GOING ON 30

13 GOING ON 30

Theatre Royal Haymarket

Reviewed – 12th July 2021

★★★

“a shouty affair that drowns out much of the tragedy, truth and trauma running through the heart of the piece”

Reviewed by Jonathan Evans

Photography by Pamela Raith

Heathers

Theatre Royal Haymarket until 11th September

Previously reviewed by Jonathan this year:

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