13 Going On 30 - Manchester Opera House

13 Going On 30, a new musical adaptation of the 2004 rom com movie, makes a splashy and bold premiere at the Manchester Opera House. Directed by Andy Fickman, with book by Josh Goldsmith and Cathy Yuspa, the musical features music and lyrics by Alan Zachary and Michael Weiner. The musical, filled with joy and nostalgia translates wonderfully on stage, creating a feel good evening of musical theatre.

13 Going On 30 follows the story of 13 year old Jenna Rink, who desperately wants to be a part of the popular girls clique, much to the disappointment of her best friend and next door neighbour, Matt Flamhaff. Following a humiliating prank at her 13th birthday party, Jenna wishes she was 30, with the freedom to be flirty, and thriving. However when she wakes up as a thirty year old, and thrust into the realities of adulthood along with the slow realisation that she's become someone she no longer recognises (literally and metaphorically), Jenna seizes the opportunity to make amends and have her second chance. After all, one must be careful what they wish for.

The original material lends itself well to being adapted to a musical (following a slew of recent musicals based on movies such as Heathers, Clueless, The Devil Wears Prada, Means Girls, 50 First Dates). The revelations and realisations that Jenna experiences makes for a compelling emotional journey, that is only amplified through songs. Jenna's world is further uplifted by the numerous other colourful characters, most notably the 30 year old Matt Flamhaff whose reappearance in her life changes everything.

Pamela Raith

Director Andy Fickman knows exactly how to lift the script to stage, creating a fascinating and vivid stage that always keeps the audience engaged. His enthusiasm for comedy, romance and friendship is clear and comes through the performances well. Fickman's energetic standards are maintained throughout, turning even simple scene transitions into their own brilliant moments with the ensemble. Jennifer Weber, the show's choreographer, infuses the musical well with impressive choreography. Both the children and adult ensemble perform the dance numbers with real passion and it really does wonders to bring the movie to stage well. Weber ensures that the iconic "Thriller" moment is everything fans of the movie would want it to be.

Lucie Jones proves herself once again as one of the most talented musical theatre leading ladies, leading the show with an outstanding performance. Jones turns up every moment of physical comedy, gaining laughter at every turn, and is as vocally stunning as ever. Jones's sweet nature and child-like mannerisms win audiences over, along with her naivety towards the reality of a tough life. She's steely when needs be, but it's her infectious joy and hope that propels the show. Jones is terrific throughout the show, and despite the slightly repetitive and slow burn of her realisations, she makes every moment entertaining.

David Hunter as Matt Flamhaff is the perfect pair to Jones's Rink. The two performers and off stage best friends, previously seen together in Waitress, create a magic on stage whenever they share a scene. Hunter, a leading man through and through, brings the perfect blend of resignation, sarcasm and charm to the role, that grounds the musical. The most relatable of characters, Hunter's contentment with "not feeling fireworks" speaks volumes in the show, and admirably creates the first emotional split that Jones's Rink amplifies. Hunter is magnetic whenever he's on stage, drawing audiences into his more reserved personality, making the moments of childlike glee all the more special. Hunter's vocals are melting and powerful, with his solo "Trust" being one of the show's stand out moments.

Pamela Raith

Grace Mouat as Lucy fully embraces the Mean Girl nature of her character, with a ruthless cold persona and a superiority complex that makes the character so memorably insufferable. Mouat however shines in the role, demonstrating her own great vocals. The onstage chemisty during the confrontationd between Mouat and Jones are done well in their brief moments. Caleb Roberts as Richard is another delight, in the most pessimistic role of the musical. Head of the fashion magazine POISE, aka Jenna's boss, Richard is forever stressed and demanding, with lines that would ordinarily send employees in tears yet works as hilarious one-liners on stage. Roberts steals the spotlight as he embodies his inner diva.

Andrew Berlin is hilarious as Kyle Grandy, embracing the silliness of the show whilst delivering a memorable performance. Berlin is sadly however limited to a single number, despite creating a character that felt out to have had a larger role. Dominic Anderson as Alex, in another limited role, is amusing as he teases and taunts his physique providing for both a bewildering and laugh out loud scene. Iván Fernández González is a show stealer as Darius Mark, another very limited role, with an accent and attitude that has the audience erupting into laughter, whilst simultaneously wowing them with his dance. Suzie McAdam and Ross Dawes, as Jenna's parents, are both wonderful bringing real warmth to the show.

As brilliant as the entire adult company, and Lucie Jones and David Hunter were, the show is admittedly stolen by the mega talented child cast. At this performance "Team 13" were performing. Amelia Minto and Max Bispham, as 13 year old Jenna Rink and Matt Flamhaff, are magnificent in their roles. Bispham has an undeniable star quality about him, quite easily dominating the entire stage and having the audience hooked onto his every word. Minto is just as brilliant, with a steely determination to portray the deep seated desire to be popular. Anna De Oliveira as 13 year old Lucy and Cyrus Campbell as 13 year old Kyle, are both striking in their roles, bringing a mature quality of performance whilst leaning into the goofy nature of being a young teenager.

Pamela Raith

The musical however begins to falter with in regards to the score. Whilst the songs are uplifting, and toe-tapping, they begin to feel generic, especially in the second act. Written to spread a positive and meaningful message, the songs are weighed down by lyrics that feel a little too "in your face", with an upbeat tone that begins to feel repetitive fast. The numerous reprises don't quite feel earnest, and add to this repetitive nature. That being said, there are several musical numbers that stand out and make for the show's strongest moments. The introduction number, performed by the younger cast "Wanna Be", is the show stealer, with the promotional video already going viral online. "Why Can't We Fly", a beautiful duet by Jones and Hunter, is a gorgeous addition. Hunter's "Trust" is miles ahead of the rest of the score, allowing Hunter to break through the colourful world with a cloud of lightning. "Jenna's Presentation" is another stand out, with Jones pouring her heart and soul into the number. "Too Late", as the Act One closer brings the two Jennas and two Matts together, creating a really rich and emotional number.

The set, by Colin Richmond, is well designed, and feels lived in. The homey nature of Jenna's childhood home is contrasted by the cold interiors of the POISE meeting rooms. The use of a swing set is admirable and immediately invokes that sense of nostalgia that the musical revolves around. Howard Hudson demonstrates his talent to create unforgettable lighting design with the transformation sequences (admittedly a little too flashy), and having the set highlights with mood light strips. Hudson creates a stunning starry night as well. George Reeve, the video design, uses the set's screens well to add to the cinematic nature of the piece, adding in vital visual moments of quiet reflection. However most impressively is the notion of projecting audience photos (taken pre-show in the Theatre's foyer with a consent form), onto these screens in the finale.

Gabriela Tylesova (Costume) and Sam Cox (Wigs, Hair and Make Up) both deserve their own moment of appreciation for their fantastic Job on the production. The younger cast are dressed in fashion from the 80s, yet feel as vibrant and cool as ever, whilst remaining adorable and revealing character personalities. The iconic dress is replicate perfectly (with a cheeky tie into some of the set pieces by Richmond). Each of the character's have been given a really strong wardrobe with styles that make one long for the early 2000s again; and creates a real sense of whimsy for Becky's custom designs.

13 Going On 30, much like life, isn't without its faults like occasionally getting stuck in one place, yet keeps the momentum going and ends up being a dazzling adaptation that engulfs the audience in a warm, safe and fun embrace. With a stellar cast, peppy songs and with a world of character that you know and love, 13 Going On 30 really is a joyous night at the theatre.

Production Value: 70

Value For Money: 70

Personal Enjoyment: 80

Overall Score: 73% - ⭐️⭐️⭐️⭐️(4*)

(AD | Ticket gifted in exchange for an honest review)

Show Information

Venue: Manchester Opera House, Manchester

Run Time: 2h30 - including a 20-minute interval

Ticket can be found on the show's official website. Click the link here to book online.