Tag Archives: Caleb Roberts

13 GOING ON 30

★★★★★

Manchester Opera House

13 GOING ON 30

Manchester Opera House

★★★★★

“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.



13 GOING ON 30

Manchester Opera House

Reviewed on 30th September 2025

by Lucy Williams

Photography by Pamela Raith


 

Previously reviewed at this venue:

HERE AND NOW | ★★★★ | September 2025

 

 

13 GOING ON 30

13 GOING ON 30

13 GOING ON 30

THE MOUNTAINTOP

★★★★

Royal Lyceum Theatre

THE MOUNTAINTOP

Royal Lyceum Theatre

★★★★

“a powerful play with a satisfying, if unrealistic, ending”

Katori Hall’s award winning play The Mountaintop is a timely revival at Edinburgh’s Lyceum Theatre, as the United States once again faces, in King’s words, “the urgency of the moment.” Directed by Rikki Henry, with Caleb Roberts as Dr Martin Luther King Jr., and Shannon Hayes as Camae, this production delivers a theatrical examination of King’s last night alive in the Lorraine Motel in Memphis, Tennessee on April 3rd, 1968. If you’re thinking this will be a naturalistic drama about a charismatic civil rights leader and the forthright maid he encounters when he orders room service, prepare to be surprised.

We encounter Dr King on a night when he is at his physical lowest. He is coughing incessantly, smoking cigarettes that only make things worse, and is increasingly paranoid (with good reason) about the covert surveillance of the FBI on his political activities. Paradoxically, his achievements as a civil rights leader have never been greater. He is a winner of the Nobel Peace Prize. He has already delivered his most iconic speeches, and is in Memphis having delivered yet another historic speech in support of striking sanitation workers. It is in reference to this speech that playwright Katori Hall takes her title The Mountaintop.

The beginning of the drama is naturalistic enough. We see Dr King go through the motions of anyone who finds himself in a motel room, after midnight, with an exhausting work day behind him. Hall presents us with Martin Luther King, Jr. the man, not the legend. A man trying to find a cigarette, and to reach his wife and children with a telephone call. Outside the Lorraine Motel a typical Southern thunderstorm is battering Memphis, to King’s evident discomfort, and even fear. Hall has chosen to present King as vulnerable, afraid, and desperately in need of that cigarette, and a cup of coffee. Salvation arrives in the form of Camae, a pretty and beguilingly outspoken young woman who rescues King with both. From that point on, The Mountaintop is really Camae’s play, as she alternatively flirts, shocks, comforts and drives King into the arms of his eventual destiny. The play parts company with naturalism when, in a totally unexpected jog into surrealism, it transpires that Camae is not just a maid with room service, but an angel of death, preparing King for what awaits him the following day.

In this production, set designer Hyemi Shin has prepared the way for the surrealistic jog. The set is set at an angle, with the boundaries of the room sketched in. There’s something surrealistic about the television set as well—as though it were broadcasting images not of this world. Actors Shannon Hayes and Caleb Roberts have plenty of space to burst through the boundaries of the motel room when the moment arrives, and director Rikki Henry encourages them to be bold in their use of it. The show may begin in a motel room in Memphis, but it ends at an apocalyptic moment in American history, and Hyemi Shin’s costume designs are up to the challenge as well. With powerful composition and sound design by Pippa Murphy, and lighting design by Benny Goodman, we are free to focus on the performances by Hayes and Roberts. Shannon Hayes makes the most of the role of Camae. She is strong, confident and not afraid to challenge Roberts at every turn in the drama. This is essential since though there are surprises throughout the drama, there’s not much that could be called suspenseful. Caleb Roberts is a good foil as Martin Luther King, Jr. He shows the range of the man, with a sensitive performance that includes weaknesses for tobacco and women, and King’s fear of meeting a violent fate before his work in the Civil Rights Movement is complete. While the dramaturgy is uneven at times, it is still a powerful play with a satisfying, if unrealistic, ending.

The Lyceum’s revival is well worth attending. Spend a little time reminding yourself of the history of the Civil Rights Movement in the United States in the 1960s, and the life and writing of Dr Martin Luther King Jr. before you go. It will make your visit all the more meaningful. Recommended.

 



THE MOUNTAINTOP

Royal Lyceum Theatre

Reviewed on 4th June 2025

by Dominica Plummer

Photography by Mihaela Bodlovic

 

 


 

 

 

Previously reviewed at this venue:

TREASURE ISLAND | ★★★ | November 2024

 

 

 

 

THE MOUNTAINTOP

THE MOUNTAINTOP

THE MOUNTAINTOP