Review: 13 Going On 30 - The Musical (Opera House Manchester)

Review by Daz Gale

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It’s the season for world premieres of musicals based on movies from the 2000s that feature numbers in the title. Following the recent opening of 50 First Dates at The Other Palace, Manchester gets a piece of the action with the fully staged debut of 13 Going On 30 - The Musical. Would this premiere thrive or would it still have some growing up to do?

Based on the 2004 movie starring Jennifer Garner and Mark Ruffalo, 13 Going On 30 is centred around the adorably awkward teenage girl, Jenna Rink. After a particularly disastrous 13th birthday, Jenna wishes she could skip over the misery of High School and wake up thirty, flirty and thriving. As is so often the case (according to musicals, anyway), her wish comes true and she finds himself the editor of a fashion magazine with a life that seems to be perfect. However, as she discovers more about the woman she became, she sets out to right some wrongs, discovering who and what really matters to her.

Whether you are familiar with the movie or new to the story, there is something for everyone in this production of 13 Going On 30. As a huge fan of the film myself, I found myself loving how all of the iconic moments and looks were recreated for the stage, with all the new additions to the story not detracting from the story at all, and actually elevating it. This is helped by the fact that the original writers of the movie, Josh Goldsmith and Cathy Yuspa have returned to pen the book for this stage adaptation, beautifully continuing their story and protecting its legacy to fantastic results.

Goldsmith and Yuspa weave together a rich and joyous world, full of lighthearted comedy and some genuinely funny one-liners and situations. Behind all of the fun and frolics is a more serious message about self-acceptance and inclusivity, beautifully embodied in the rousing ‘Own It’, itself sure to strike a chord with many and become an anthem for inclusivity. Lifting dialogue directly from the movie while being unafraid to make any necessary changes, the balance has been addressed perfectly, creating a musical that feels familiar and in safe hands from the beginning.

One of the biggest strengths in 13 Going On 30 is the collection of original songs that make up the show. With music and lyrics by Alan Zachary and Michael Weiner, they mostly impress, with some destined to become favourites among musical theatre fans. The opening number, ‘Wanna Be’, performed by an incredible cast of young performers, sets the tone immediately and raises the bar for the rest of the show to follow in one of the most glorious openings I have ever witnessed. The standard rarely dips, with ‘Poise’ feeling as if it The Devil Wears Prada musical could have benefitted from a number as strong as that. ‘You Gotta Have Fireworks’ and the title number ‘13 Going On 30’ are other Act One highlights, with the future classic ‘Own It’ certain to be loved by young performers for the foreseeable future, and climactic numbers ‘Make The World’ and ‘Here and Now’ ending the show on a serious high (though it is hilarious there are currently two new musicals ending with a song called ‘Here and Now’ - I’ll let you guess what the other is).

Andy Fickman’s direction helps lift the production further, evoking comparisons to his stellar work on the now classic Heathers. In that sense, 13 Going On 30 is in incredibly safe hands, and Fickman more than rises to the occasion, thriving under the pressure to create a series of inspired sequences. Camp, colourful and cheeky, the feelgood factor is ramped up under his direction, underpinning the emotional weight of the story and effortlessly allowing the audience to fall in love with the characters we meet on stage.

Of course, one of the most iconic moments from the film is the ‘Thriller’ sequence, and I am pleased to say it is every bit as fabulous in this stage adaptation. The sight of the cast gradually joining in with Michael Jackson’s classic routine was perhaps the most joyous moment in the show - no easy task given that this show could be bottled for the joy it brings. It is one of many impressive sequences found in the show, with Jennifer Weber’s choreography coming alive and lighting up the stage consistently throughout.

It’s not completely perfect and feels like it is in need of a bit of refining, but that is exactly what these initial runs are designed for. The energy has a tendency to dip at certain points, and Act 1 in particular feels like it could benefit from a slight retooling, as opposed to a far more solid second Act. Jenna’s boyfriend being reduced to a one-dimensional comedy character whose only defining trait is his (questionable) Canadian accent is a low-blow - this show is better than expecting an audience to split their sides with laughter every time he says “aboot” and would be infinitely better by either reworking this character, or losing him altogether. Similarly, his big musical number ‘Hot’ proves, by far, the weakest moment in the entire show, never matching the standard set elsewhere in the predominantly strong musical numbers. It is these minor issues that prevent the show reaching its full five-star potential, as I got the sense this is a five-star show, but is currently a four-star production.

Colin Richmond’s set design has moments of beauty overall, but feels too sparse on the rather looming stage of Manchester Opera House, and could use a bit more attention, bringing some larger props and a more detailed design to really make the set pop, though I’m sure this will come in a future iteration. Gabriela Tylesova’s costume design is simply fabulous, replicating some of the recognisable looks from the movie, and enjoying an appreciative applause in doing so, while bringing some new moments that fit in with the show’s fashion-centric theme. Howard Hudson’s lighting design is stellar, bathing the stage and audience in colour. It especially wows during the stunning number ‘Why Can’t We Fly’, with some beautiful staging creating an instantly iconic musical theatre classic. While there is also a great usage of video design from George Reeve, I’m not sure how I feel about the use of AI in many of the photos we see in the backdrop.

The one aspect of 13 Going On 30 is its stellar cast, led by the always wonderful Lucie Jones. No stranger to playing characters called Jenna on stage, Jenna Rink feels like the perfect vehicle for her talents, displaying an authentic sweetness and loveable quality that feels in-keeping with the character, while putting her own noticeable stamp on it. Jones has the kind of stage presence most can only dream of, always lighting it up with her presence whether she is baking a pie, defying gravity or playing a 13 year old trapped in a 30 year old’s body. The result is a masterclass performance, and one of the best in an impressive career. I don’t need to tell anybody about Lucie Jones’ out-of-this-world vocals, but they are put to great use on her Act Two solo ‘Make It Go Faster’ and the title number ‘13 Going On 30’.

Lucie reunites with her Waitress co-star, David Hunter, who is once again a delight in his role as Matt Flamhaff. Though his character is a bit more withdrawn and subdued compared to some of the roles I have seen Hunter in perform, he still manages to bring his cheeky charm to the character, showcasing his strengths in musical number ‘Trust’. Lucie and David have a natural chemistry together, helped by how much they have worked together in recent years, and the energy they bring to the stage together is nothing short of electric. There is a real believability to their love story, helping to land the emotional impact of the story and allow you to root for their happy ending.

Grace Mouat shines as Jenna’s best friend and rival, Lucy, once more showcasing what a star she is, even if her character is slightly underused. Caleb Roberts delivers a memorable turn as Jenna’s boss, Richard, in a brilliantly overdramatic and exaggerated performance, while Andrew Berlin gets a show highlight as Kyle Grandy, with this energetic and enthusiastic Act Two opener ‘Peaked In High School’, one of the standout moments of the show. Elsewhere in the main cast, Iván Fernández González gets a minor but memorable turn as Darius, and Dominic Andersen manages to make the most of an underwritten character with his time as Alex, giving the audience plenty to talk aboot.

The young cast are every bit as important to this story as their adult counterparts, with two rotating groups, “Team Thirteen” and “Team Thirty” taking on the roles. For the performance I attended, it was the turn of “Team Thirty” and what an impressive group of young performers they are. Fearne Lily King I’anson makes for a wonderful young Jenna, with George Hamblin delivering a strong and sweetly funny turn as young Matt. To quote a song later in the show, the entire young cast certainly own it when it comes to their performances, with the first part of the show an absolute thriller thanks to their ensemble work.

In its first outing, 13 Going On 30 - The Musical is in pretty good shape. Though it’s not quite perfect at the moment, it has plenty going for it for audiences to fall in love with it, and is lucky in that it gets a chance to start over, like Jenna. A future life, presumably in the West End, feels all but a certainty for this production, and with only the slightest of tweaks, it could prove to be the next big thing when it comes to musical, particularly in the now overcrowded movie musical subsection. The theatrical equivalent of a fluffy pillow, this musical proves comforting and is guaranteed to brighten anyone’s day. Pretty much ticking all the boxes you would want from a musical like this, at its very best, 13 Going On 30 flirts with greatness and finds itself thriving.

13 Going On 30 plays at Manchester Opera House until 12th October.

Tickets available here

Photos by Pamela Raith