Tag Archives: Pamela Raith

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 SHADOW IN THE MIRROR

★★★

The Mill at Sonning

THE SHADOW IN THE MIRROR

The Mill at Sonning

★★★

“a thoroughly enjoyable evening”

Adapted for the stage by director Dugald Bruce-Lockhart, ‘The Shadow in the Mirror’ reimagines Gerald Durrell’s short story ‘The Entrance’, in which the English antiquarian Peter Letting (Nick Waring) becomes embroiled in a supernatural curse through his employment by a young French nobleman (Gregg Lowe). Set between the prison in which Letting is forced to confess his supernatural experiences, the courtroom, his home in England, and the haunted house he unwittingly enters to catalogue the exquisite book collection of a dead man, the production delivers an entertaining, easy-to-watch night of light horror.

With a floor-to-ceiling, rounded mirror in the middle of the stage, Diego Pitarch’s elaborate set unquestionably evokes the right quasi-Victorian mystery, though the omission of a proper bookcase is just as mysterious. The central mirror is flanked by stairs and balconies, with one side subtly accommodating the seedier haunts the story takes us, and the other the more respectable spaces. However, it is not a very efficient set: its level of detail makes it feel static and ill-suited to the continuous transformation the narrative demands, leaving the ensemble to rely on Bruce-Lockhart’s dynamic direction and Mike Robertson’s atmospheric lighting to evoke changes of scene.

In the director’s adaptation, much time is spent setting up the action in the first act, making the second act feel rather plot-heavy. Staging the occult is difficult, and Bruce-Lockhart’s script depends on the continuous description of past events to do it. Simon Slater’s extensive sound design brings the narration to life, though the many sound effects sometimes border on gimmicky. As Peter Letting, Waring is often left repeating the words ‘and then…’, rendering the production somewhat guilty of a “tell don’t show” approach. The previously mentioned central mirror at the back of the stage remained criminally underused during the many descriptions of ‘what Peter Letting saw’ (in his reflection). John the jailer (George Dillon) is an engaging storyteller, but the cast shines in scenes with more action, with a particularly entertaining performance by Giles Taylor as the prosecutor in Letting’s trial.

A ticket to this production at the Mill at Sonning near Reading includes the performance as well as a comforting two-course meal in its atmospheric historic restaurant. In combination, the Mill at Sonning and ‘The Shadow in the Mirror’ deliver a thoroughly enjoyable evening.



THE SHADOW IN THE MIRROR

The Mill at Sonning

Reviewed on 26th September 2025

by Lola Stakenburg

Photography by Pamela Raith


 

Previously reviewed at this venue:

WHITE CHRISTMAS | ★★★★ | December 2024
BEDROOM FARCE | ★★★★ | August 2024
THREE MEN IN A BOAT | ★★★ | June 2024
CALENDAR GIRLS | ★★★★ | April 2024

 

 

THE SHADOW

THE SHADOW

THE SHADOW