JADAR

★★★★☆

The Lightning Thief: The Percy Jackson Musical is based on the beloved series written by Rick Riordan. The musical adaptation was written by Joe Tracz with music and lyrics by Rob Rokicki. The musical originally opened Off-Broadway in 2017 and has since premiered internationally. The musical landed at The Other Palace in London in late 2024 before touring the UK over 2025 and 2026.

The Lightning Thief is exactly what it needs to be, both entertaining and magical for adults while capturing the charm of the young adult novels. There were two understudies on stage on press night, with Alex Anderton filling in as Grover and Becca Francis filling as Clarisse.

As a fan of the book and television series, a show with this reputation has a lot to live up to, and I believe the production did. The book makes interesting sacrifices and choices, particularly glossing over a large majority of the quest they undertake. I enjoyed the structural focus on the emotional development of the characters, as opposed to fitting in as much from the narrative as possible. Hard-core fans may be disappointed in some of the story sacrifices, but I thought the adaptation into the musical was clever and thorough, focusing on the most significant sections for the most part.

There were some parts that felt odd, particularly the extended dance breaks for Medusa and the D.O.A. record store. I felt the emphasis on these scenes was placed in the story for musical theatre flashiness as opposed to narrative benefit.

Additionally, some fans may take issue with the ending, as it is rushed and falls into a classic musical theatre trope where they explain more than they show. However, given the nature of the show and it relying on the basis of a children’s novel, I found this to be no issue. The script does not need to be brilliant and devastating, it needs to remind us of a time when we were younger, transport us to a magical world and, frankly, be easy to follow for younger audiences. 

The themes revolving around community, finding your people, and doing what you can (even if you are scared) are really powerful themes for children to see and perfectly encapsulates what Rick Riordan wanted in his original novels. My only grievance with the script would be some erasure of Annabeth’s character, particularly in moments where she is communicating to other characters. Her ballad was expertly sung, more on this interpretation later, however, the idea of her toughness is undercut by the script itself, which did not allow for a full analysis of the character. 

Despite these moments that felt out of place, I found the show to be incredibly well thought through. Lizzie Gee, director and choreographer, did an excellent job supporting the emotional moments in the script. I found the show to be lively, fun and extremely energetic. The choreography was precise and modern, drawing in new audiences to the story. I needed to make special mention of the musical director, Will Joy, as the music was flawless. There was so much alive inside the music and the band expertly transitioned from soft musical theatre ballads to the pop punk rock demanded by the show. 

The show tried to bring Percy Jackson into the modern world with modern costumes drenched in denim and street-wear style. I adored the intention but found the costumes to be the least interesting aspect of the show, and was slightly let down by the lack of detail to the books. I felt the camp necklace detail was ignored, likely due to the accessibility of necklaces interfering with microphones, but could have been transferred to charm bracelets. The design lacked a warm charm but it successfully pushed the show to exist in 2026. The set and costume design was done by Ryan Dawson Laight. 

The show was ripe with magic, largely thanks to Richard Pinner, the illusionist. They managed a large amount of theatre technicalities for a touring production but kept the entire show overrun with mysticism, including a large minotaur taking over the entire stage. It was completely joyous and, honestly, just fun. This is a show you will want to watch over and over again, even just for the brilliant illusions and background world created by the cast. 

As mentioned, a major congratulations to the understudies of this production, Alex Anderton who beyond successfully filled the boots, or should I say hooves, of Grover. Additionally, Becca Francis filled in as Clarisse and surrounding characters. The magic and poise of ensemble performers can never be over stated, as they often have one of the most difficult positions in a show. They were superb in their roles. 

In all honesty, the core ensemble and cast were superb. I was delighted in the fun they were having and felt there was a true love and support of the story that was present. It was exactly what the show needed and I felt it was successful. I enjoyed the campness of the show including the double casting and overlap between several characters. Across the second act, I was floored by the range of Niall Sheehy who played dozens of characters back to back, with only a slight accent slip. 

I was intrigued to see how Danny Beard stepped into the disgruntled camp director, Mr. D, and honestly left feeling unsure about this by the end. It felt like the show had a mix of elements both honoring the intention of the book and drawing in audiences, this falling somewhere along the line. I was intrigued by this stunt casting but felt he did a fine job immersing himself into the story. However, it did feel distracting at times as he stepped out into the camp half-blood world. I felt his grandeur took away from a few scenes and felt almost distracted by him on stage in the background. 

Alex Anderton, this evening’s Grover, was excellent. He played the lovable and charismatic satyr to perfection, and genuinely left me floored at his solo in ‘The Tree on the Hill.’ I was beyond impressed by Anderton and was shocked when viewing the programme after the show, and I realized he had stepped into the role. 

Kayna Montecillo, playing Annabeth Chase, is another astonishing performer to keep an eye on. Her vocal control and emotional capacity was utterly breathtaking. Her performance in ‘Grand Plan’ was a show-stopper, leaving audiences in disbelief at what they had just witnessed. Montecillo has been a show-stopping performer in several roles, it was a true honor to witness her in person. 

Vasco Emauz, Percy Jackson himself, leaves the stage approximately two times throughout the production, making this 2 hour show a physical accomplishment in and of itself. His dedication to the character was phenomenal, showcasing complete control of his emotional capacity through his use of voice. Seeing this production live completely transformed it for me. His rendition of ‘Good Kid’ was stunning, showing a complete emotional range from rage, to sadness, to fear, to determination. I would liken Emauz to a demi-god himself after that performance.

There is no doubt in my mind that this trio will reach the highest stars in their career, surpassing this mere demi-god status into truly legendary ones. One of the most important things I look for in any production is a true act of presence from a performer, with themselves, with the cast and with the audience, and I truly felt these three showed this, and it dramatically changed the show for me. 

Overall, the show is a smashing success. I believe there were some odd focuses in the script itself but felt it did a good job converting a beloved story into a unique retelling. The core cast was beyond astonishing and I look forward to following their careers in the future, especially given the fact the cast is so young. I truly feel this show has the potential to change the lives of youth in the audience, just like the Percy Jackson series has for many. They should take deep pride in presenting a story like this one. Additionally, it was delightful to see a major production be brought up to Manchester and rest in HOME Theatre, an independent movie theatre and stage space. 

I am saddened to see the tour of the production cut short: originally meant to be on stage until August of 2026, the tour is now finishing in March. If you are able to see this show and are on the lookout for a night connecting you to your inner child, this is the musical to see. It will touch your heart, reminding us that in moments of darkness, we only need to try, and if we fail, we will always have our friends around us to fall back on. 

The Lightning Thief: The Percy Jackson Musical runs at HOME (Theatre 1) until February 21 and tours the UK until March 21.