JADAR

★★★☆☆

The latest musical to premiere in Manchester is the stage adaptation of 13 Going on 30. I’m not much of a chick flick or rom com fan but I watched the film the other day, purely for homework, and I surprisingly loved it, particularly because of its poignant messages, which tackle more than just romantic relationships. The musical is a fun, faithful adaptation of the film – but it fails to stand out amongst countless other stage musicals based on films.

13 Going on 30 follows Jenna Rink, a bullied teenager, who, on her 13th birthday, wishes to be 30 and suddenly wakes up as her 30-year-old self, 17 years in the future.

This stage adaptation is directed by Andy Fickman, who is best-known in the world of theatre for directing Heathers, a stage musical adaptation of the cult classic ’80s film. Whilst 13 Going on 30 was made, and set, in 2004, it begins in the ’80s, and the protagonist, Jenna, is a 13-year-old from the ’80s. As Andy told me when I interviewed him, Heathers is so specifically set in the ’80s, but, as a bid to make this poignant story more relatable to everyone, it is now set today, though the aesthetic is ambiguous, with deliberately dated costumes.

The film focuses on Jenna being a 13-year-old trapped in the body of a 30-year-old, with very little consideration given to how somebody from the ’80s would navigate the 2000s. Stripping the story of a clear, defined era makes it impossible to tackle this interesting conundrum. Jenna would surely be shocked by modern fashion and smartphones.

The book, by Josh Goldsmith and Cathy Yuspa, is very faithful to the original film, with some small changes, mostly made to save time and to make things less clunky: you can’t jump around from place to place as freely in stage shows as you can in films, so some of the scenes are condensed into one scene.

There are a few small improvements, such as having Kyle Grandy remain at home: it makes sense that the guy who peaked in high school also never left home. But making him overweight – and thus the audience laughing when they realise that the school jock is now a chubsters – is humour more suited to 2004 than 2025.

Strangely, whilst the pink house that Matt made for Jenna is seen in the basement, it is just in storage; Matt does not gift it to Jenna. Whilst it’s disappointed that that exchange was discarded, I’m glad that they still gave us an Easter egg.

The film is remembered for its incredible soundtrack of ’80s classics, including ‘Vienna’ by Billy Joel and ‘Love Is a Battlefield’ by Pat Benatar, with the latter becoming something of a key phrase for Jenna. With the stage musical no longer being set in the ’80s, these songs are discarded; it instead has original music, written by Alan Zachary and Michael Weiner, which, sadly, is not a worthy stand-in for the film’s soundtrack. When the songs are good, they’re really good, but most of them are so unmemorable that they blur into one. It’s a safe, samey score, and some of the lyrics are a bit generic, but it’s aurally satisfying and sublimely sung.

This is, perhaps, a rare case where a stage adaptation of an iconic film might have worked better as a jukebox musical, à la the first Manchester premiere of the year, A Knight’s Tale, which is also remembered for its soundtrack.

The musical does, however, still feature ‘Thriller’. People would probably have walked out if they used a different song for that scene! As producer Wendy Fetterman told me on the red carpet, the original production of The Addams Family, much to her chagrin, did not include the iconic clicks because they did not want to pay for the rights – but during previews, the audience reaction made it clear that they needed to add them!

The version of the song in the musical is not the Michael Jackson original; it is instrumental until the entire cast sing the final chorus. Whilst this was probably done to save money, it would be a bit weird having a recorded song played in a stage musical. Dirty Dancing The Musical, which has original songs, briefly plays some of the iconic songs used in the film, and it feels sloppy and disconnected (but that’s hardly the worst thing about that show).

Like lots of new musicals, 13 Going on 30 uses screens as part of its set (Colin Richmond) but they are used innovatively and interestingly, much like in Mean Girl The Musical. The various sized screens move; they’re not just a backdrop. George Reeve’s video designs are striking and beautiful though some of the early photos look like they could be AI (even if they are not AI, it’s not great that they look like it). At the end of the show, the screens show photos taken of audience members before the show, which is touching.

Furthermore, the show does not rely solely on screens for its settings; there are also lots of big set pieces, including a fantastic recreation of the basement, where the change happens. The change, itself, though not as mind-blowingly magical as SFX seen in Disney musicals and Harry Potter and the Cursed Child, is very well done. Credit must be given to Paul Kieve for his illusion design.

Howard Hudson’s colourful lighting, Gabriella Tylesova’s quirky costumes, and Jennifer Weber’s commercial choreography feel both ’80s and ’00s in a way that works perfectly for the 2020s, what with the recent resurgence of ’80s and ’00s fashion. When I interviewed Weber, she told me that she is hoping to have another hit in Manchester, after choreographing & Juliet.

There is excellent wigs, hair and make-up design by Sam Cox but the outlandish chopsticks look is sorely missed. Fortunately, that dress makes an appearance during the ‘Thriller’ scene and again at the curtain call (which will be great promo for the show).

The highlight of the show – much like the film – is the cast. Lucie Jones and David Hunter, who previously played the leads in Waitress, have reunited (check out my interview with the duo to hear about their casting process). Jennifer Garner and Mark Ruffalo gave such raw, memorable performances in the movie, and Lucie and David, two of the best stars of the stage right now, are worthy successors. Heck, Jennifer has even complimented Lucie on Instagram!

Grace Mouat, who I called “the Queen of New Musicals” when I interviewed her, chews up the scenery as an even bitchier Lucy (Jenna’s frenemy); she feels very much like an updated, 2020s version of Judy Greer’s Lucy.

Caleb Roberts is somehow even camper and more outlandish as Richard, Jenna and Lucy’s boss, than Andy Serkis was.

Andrew Berlin delivers a scene-stealing performance as Kyle Grandy; it’s no surprise that the character, who only appears briefly, made it into the main cast portrait.

Dominic Andersen is hilarious as Jenna’s future boyfriend, Alex. This is his second time playing a friendly douchebag in a year, after starring in the world premiere of I Should Be So Lucky at the same venue last year.

Jenna’s parents, Wayne and Bev, are played wonderfully by Ross Dawes and Suzie McAdam, but it would be good to see more conflict between them and Jenna. Iván Fernández González is a joy to watch as the obnoxious fashion designer Darius Mark.

Whilst this Wendy (Matt’s fiancée) is even more underwritten than the film version, I like that she is less passive and unaware; she understandably has a negative reaction when meeting Jenna. Jenna Ines is very funny in this scene; I wish we got to see more of her.

Rose Galbraith is adorable as Paige, Jenna and Lucy’s assistant. It makes sense to make her younger; she’s like a tortured intern trying to make it in the brutal, cutthroat world of fashion.

The ensemble is electric, and the show has one of the best casts of kids I’ve ever seen.

13 Going on 30 does not reinvent the wheel, nor does it try to, but that’s not entirely a defence of it – because it could have. It had the potential to offer something new in an industry drowning in stage adaptations of films.

Where this musical stands out is in its messaging, but the messages come directly from the film; they don’t make the show itself special.

That said, the show, like the film, beautifully explores how people often wish we did things differently. Some people are in such a rush to get somewhere that they wish their lives away, later regretting not savouring every precious moment. I certainly relate to that, but now I dread getting older, which also prevents me from living for (and enjoying) now! This story teaches us to stay true to ourselves, to appreciate what we have, and to understand that happiness comes from within, not material possessions or societal expectations.

13 Going on 30 is a thriller of a night – but it won’t thrill you more than any ghoul would ever dare try.

13 Going on 30 runs at Opera House Manchester until October 12.

Photo: Pamela Raith Photography