★★★★★

“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.

CRUEL INTENTIONS at The Other Palace

★★★★

“an evening of unadulterated fun and escapism, with a fabulous soundtrack delivered with passion, right up to its climax”

With a core cast of eight triple-threats, bolstered by an equally talented ensemble, “Cruel Intentions: The ‘90s Musical” bursts onto the stage at The Other Palace in a glorious blaze of fun and virtuosity. However cruel the protagonists may be, the true intentions of this talented troupe are to entertain and send us home with our heads full of ‘poptastic’ tunes and a smile as wide as the Cheshire Cat’s. Ay, there’s the rub – the toxic treachery is let off too lightly. Based on the 1999 teen romantic drama, in turn based on the eighteenth-century French morality tale ‘Les Liaisons Dangereuses’, the wages of sin are just a token penalty. Yet to their credit, Jordan Ross, Lindsey Rosin and Roger Kumble – the creators of this memorable musical – inject some of the behaviour of the characters with a modern-day sensibility to redress the balance.

But such conjecture misses the point and is ill-suited to a show that thrives on not taking itself seriously. Jonathan O’Boyle’s racy and pacey production dishes out the story and the jokes in delightful, digestible bitesize scenes with brilliantly choice hit songs for punchlines. Which is where the ingenuity really shines, for it never feels like a juke-box musical. Even in the most abrupt jolt from dialogue to song, the transition is smooth, natural, uncannily appropriate, and often very, very funny.

It is a winning formula, proven by its Off-Broadway debut seven years ago which was extended three times back in 2017. Even if the London revival is somewhat emotionally disengaging, we are drawn into the protagonists’ world as we follow the sociopathic stepsiblings’ shenanigans. The charming but devilish couple place a bet. Kathryn (Rhianne-Louise McCaulsky) wagers on whether Sebastian (Daniel Bravo) can deflower their high school headmaster’s daughter, Annette (Abbie Budden). As the couple set out to destroy the innocent girl, they find themselves in a dangerous game of revenge and malice. Kathryn is equally intent on corrupting new girl Cecile (Rose Galbraith) using Sebastian as a pawn – among others including music teacher Ronald (Nickcolia King-N’Da), gay couple Blaine (Josh Barnett) and Greg (Barney Wilkinson), and Cecile’s nouveau-riche mother, Bunny Caldwell (Jess Buckby).

“Gary Lloyd’s power-driven and energised choreography is devilishly divine”

Each cast member has ample opportunity to showcase their outstanding vocal abilities as they soar through the musical numbers, giving a whole new slant on the original lyrics. It will be difficult to disassociate, now, Ace of Base’s ‘The Sign’ from Cecile’s first orgasm, or TLC’s ‘No Scrubs’ from Bunny’s innate racism. Elsewhere a real poignancy pours from Jewel’s ‘Foolish Games’, courtesy of Abbie Budden’s heartfelt portrayal of the prim Annette. Reaping the biggest applause is Rhianne-Louise McCaulsky’s Kathryn whose outstanding solos almost make you forgive her character’s maleficence. The Counting Crows ‘Colourblind’ is a gorgeous duet for Daniel Bravo and Budden, before the ensemble kicks in with spine-tingling harmonies.

There is little time to do so, but between songs the performers manage to flesh out personality onto the skeletal bones of their personas. Rose Galbraith is at once raunchy and kittenish as the ingénue Cecile, while Budden’s virginal Annette bewitches with sex appeal and sassiness despite the prim exterior. Daniel Bravo’s amoral coolness melts along the path of redemption, whereas McCaulsky remains as cold as ice: the self-confessed mistress of self-absorption. Her performance is indeed a highlight, although generously allowing the stars surrounding her to shine as bright.

There are inevitably moments of implausibility. And for all its salaciousness and profanity, the show is somehow not very shocking. There is a clean gloss that renders the scandalous a touch scandal-free. It is all about sex, but is sometimes sexless as though the intimacy directors are on overtime. But let’s not single them out – it seems the rest of the creative team are on overtime too. Gary Lloyd’s power-driven and energised choreography is devilishly divine. Chris Whybrow’s sound is crisp and perfectly balanced to pinpoint each vocal and each note from the four-piece band, led by musical director Denise Crowley.

Slick, snappy and sometimes sensational, “Cruel Intentions” pokes fun at its source material and itself. Who cares about its intentions – cruel or otherwise? The result is an evening of unadulterated fun and escapism, with a fabulous soundtrack delivered with passion, right up to its climax.

Tag Archives: Rose Galbraith

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

🎭 A TOP SHOW IN JANUARY 2024 🎭

CRUEL INTENTIONS

★★★★

The Other Palace

CRUEL INTENTIONS at The Other Palace

★★★★

“an evening of unadulterated fun and escapism, with a fabulous soundtrack delivered with passion, right up to its climax”

“Gary Lloyd’s power-driven and energised choreography is devilishly divine”