★★★★★

“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.

CLUEDO 2: THE NEXT CHAPTER at Cambridge Arts Theatre

★★

“There’s much here that could be funny if only it were slicker, shorter and snappier.”

I must admit to not having seen the first Cluedo stage adaptation, but I am reassured that this second play is all new (writers Laurence Marks and Maurice Gran). I can confess to having spent many hours playing the legendary board game in my youth and thought myself an expert sleuth at the time (with rather a secret crush on Miss Scarlett). So I was delighted to see on entering the theatre, a beautifully designed set comprising a giant portrayal of the classic gameboard with a cartoonesque manor house superimposed upon it (designer David Farley).

There is nothing noir or sinister about this production, and nor should there be. We see a shady character lurking in the shadows on occasions but, otherwise, the gruesome nature of murder by whoever, wherever, with whatever is lighthearted. The characters are as cardboard cutout as they can be, resembling it too, as they often stand so statically (director Mark Bell). Nearly the whole ensemble overplay their roles, but the production lacks a twinkle in the eye or a knowing acknowledgement that this is what they are doing.

The plot, such as it is, sees 1960s rock superstar Rick Black (Liam Horrigan) assemble a group of people in his massive country manor house to assess the new album which is going to resuscitate his floundering career. A slow preamble lets us in on backstory amongst the gathering and we discover past and present liaisons, secret identities, and who might have it in for whom if pushed far enough. There could be a lot of fun to be had here but much of the narrative is too long and too slow. Running gags run on too far and the staging is often clumsy and ponderous. We are also witness to a most contrived and least convincing love scene.

The characters are, of course, dressed in their appropriate colours but not garishly so. Colonel Mustard could have been yellower, Professor Plum more purple. Miss Scarlett certainly looks the part in a bright red mini dress, and Mrs Peacock too in an elegant blue gown. Between scenes, quasi-balletic sequences see the group of suspects and soon-to-be victims move around the house often in effective slow motion (movement director Anna Healey). Windows, doors, and picture frames are flown in and out as the company explores the building from room to room.

Sadly, the ensemble isn’t as slick as it could be. Jason Durr as Colonel Mustard shouts in a broad southern states American accent that greatly affects the clarity of his diction. Ellie Leach (in her stage debut) as Miss Scarlett is competent enough but lacks nuance. Edward Howells as the non-professor Professor Plum does what he can with a character so weak that he can’t himself explain quite what he is doing there. However, Hannah Boyce as Mrs Peacock commands the stage and our attention, holding her character and accent throughout. Dawn Buckland gives the performance of the night as the down-to-earth Cook, Mrs White, who pops up in unexpected places suggesting she knows the secrets of the house’s hidden passages. Jack Bennett as the “I’m an actor, not a butler” butler Wadsworth carries a single joke and much of the weight of the physical comedy.

But the whole thing doesn’t quite hold together. There’s much here that could be funny if only it were slicker, shorter and snappier.

Tag Archives: Henry Lawes

13 GOING ON 30

★★★★★

Manchester Opera House

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:

HERE AND NOW | ★★★★ | September 2025

13 GOING ON 30

13 GOING ON 30

13 GOING ON 30

CLUEDO 2: THE NEXT CHAPTER

★★

Cambridge Arts Theatre

CLUEDO 2: THE NEXT CHAPTER at Cambridge Arts Theatre

★★

“There’s much here that could be funny if only it were slicker, shorter and snappier.”