Review: Malory Towers (HOME Manchester)

Review by Jack McCabe

⭐️⭐️⭐️ 

Nostalgia can be a wonderful thing, and few experiences evoke nostalgia quite like the memories of secondary school. Emma Rice’s adaptation of Malory Towers follows Darrell Rivers as she begins life at a clifftop boarding school in Cornwall where she navigates friendships, rivalries and a series of lessons both inside and outside the classroom. Would this production be a masterclass, or would it leave me waiting for the school bell to ring? 

Published between 1946 and 1951, Enid Blyton’s Malory Towers series became one of the most popular school-story collections in British literature. The novels have attracted generations of readers, and their enduring popularity has led to numerous adaptations across media including books, television series and stage productions. Initially debuting in 2019, the musical combines on-stage music, an ensemble cast and a distinctive theatrical style, introducing the classic series to contemporary audiences. 

Firmly aimed at children and families, this production prioritises broad humour and simple yet accessible storytelling over complexity or emotional depth, which may be sought by adult audiences. This is not necessarily a criticism; the show knows exactly who it is for and does not attempt to be anything else. The enthusiastic reactions from younger audience members show that the themes and characters connected successfully with the intended demographic, even if some parts feel predictable and simplistic, offering little beyond the surface for older viewers. 

Emma Rice’s adaptation brings together elements of the books and successfully captures their warmth whilst making them accessible to modern audiences. The storytelling is straightforward throughout and its message is always clear; in fact, this production is so keen to reinforce its messages that moments of moral reflection begin to feel a little repetitive, with conflicts rarely allowed to develop for long before arriving at a clear moral conclusion. As well as adapting the stories, Rice also directs the production, and her vision injects plenty of energy and creativity through effective use of puppetry, lively ensemble work and clever use of animation.

Ian Ross’ musical composition proves something of a mixed bag, with the production seemingly unable to decide whether its songs should function as atmospheric accompaniment or actively drive the narrative. Some of the songs are impressive, such as Thunder and Fairy Queen; however, others felt less memorable and do little to advance either the plot or character development. The score is at its strongest when integrated naturally into the action. Despite this inconsistency, the live musicianship of the cast ensures the score remains enjoyable throughout.

Lez Brotherston’s costume design is perfectly suited for the post-war boarding school setting, with costumes that feel impressively authentic and help ground the production in its mid-twentieth-century world whilst remaining practical for the show’s choreography. Brotherston also designs the set, which is relatively simple but used with enough imagination and flexibility to sustain the production. Simon Baker’s video projections efficiently transport the audience from scene to scene and help maintain the pace of this brisk two-hour performance. Special mention should also go to Lyndie Wright and Alistair David for their work on the puppets and puppetry, which prove a real delight and an aspect of the production I would have loved to have seen more of.

A key strength of this production lies in its small but energetic cast and their ability to advance the story not only through their acting but also through the playing of instruments, with the live music played on stage becoming an integral part of the storytelling rather than a separate accompaniment. The result is exciting, engaging and skilfully performed. The characters themselves can feel slightly one-dimensional and archetypal, but that is certainly not a criticism of the actors. Robyn Sinclair delivers a confident and engaging performance as Darrell Rivers, capturing the character's determination, impulsiveness, and excitement. She embodies Rivers so authentically that she appears to have stepped directly from one of the pages of Blyton’s novels. 

Eden Barrie impresses as the timid Mary-Lou Atkinson, emanating her nervousness and vulnerability with genuine sincerity. Throughout the show, Mary-Lou gradually grows in confidence, as Barrie charts that development convincingly, creating one of the production’s most engaging character arcs and a character who is easy to root for.Molly Cheesley gives a stellar performance as Alicia Johns, the group's popular joker, who is never far away from delivering a gloriously groan-worthy dad joke. She is charismatic, funny and consistently watchable. Finally, Stephanie Hockley impressively plays Irene DuPont, the music-adoring French student. While her characterisation is strong, it is her musicianship that stands out most. Her ability to perform live music seamlessly alongside her role in the story is remarkable, while her singing voice proves particularly impressive and her solos rank among the production’s highlights. 

Enid Blyton’s stories have endured across generations and, judging by the reactions of the children in the audience, they remain as exciting, funny and emotionally resonant as ever. An overly basic narrative, lack of emotional depth and some forgettable songs did not prevent this production from being an enjoyable evening made special by a strong cast of musician-actors and inventive, if somewhat underused, puppetry.

Malory Towers plays at HOME Manchester until 13th June. Tickets from https://www.homemcr.org/whats-on/malory-towers-8j2g

More information regarding tour locations and dates can be found here: https://www.emmaricecompany.co.uk/productions/malory-towers

Photos by Steve Tanner