JADAR

★★★★☆

One of the most hotly anticipated musicals of the year, a non-replica revival of Disney’s High School Musical by Hope Mill Theatre and Chris Harper Productions at Lowry and Troubadour Wembley Park, has finally arrived – and it was more than worth the wait.

High School Musical is of course based on the film of the same name, which turned 20 earlier this year. Hope Mill’s Joseph Houston and William Whelton described HSM as “the Grease of a generation” at the launch event. Whilst it was just a TV movie, it quickly became an absolute sensation, spawning two cinema-released sequels, a spin-off film, and a spin-off TV series which made a star out of Olivia Rodrigo. But few franchises are entirely successful, and the stage adaptations of the first two films (which were released very soon after those films), did not do too well and have been largely forgotten – so much so that many people think that this is the first-ever stage adaptation.

But this bold new production manages to stand out in an industry which is becoming increasingly oversaturated, especially with screen-to-stage adaptations.

Written by David Simpatico, it is a very faithful adaptation, with all the changes making sense for a stage adaption. Whilst it’s unashamedly fun, camp and silly, it has so much heart, and there’s an important message at its core about not having to fit into a box or live up to stereotypes. The titular high school is microcosmic for wider society. With this production taking place 20 years later, albeit still being set in 2006, there is perhaps a missed opportunity in not trying to reference some topical issues which we are now more aware of (such as mental health and neurodiversity) but this could feel forced and would risk losing focus. Some of the earlier lines feel a little awkwardly written but you soon forget about them. The iconic songs stand the test of time. The new songs are pleasant but not so memorable, albeit beautifully performed.

Co-directed by husbands Houston and Whelton, this is a no-expenses-spared production and one of the most ambitious productions ever staged at Lowry, with the Lyric Theatre’s immense stage being transformed into a basketball court, complete with onstage bleacher seating! There are also steps which descend down into the audience, which the cast make excellent use of, as well as the aisles of the theatre, creating a truly immersive spectacle. Whilst there is no audience participation, the immersiveness brings the excited audience into the fold, making sure we know that this is just as much about us, as so many of us in the audience grew up with this iconic film. It’s one thing seeing a film you love brought to life but this film speaks to a whole generation. I was 6 when it came out; it was one of my earliesr introductions to musicals!

Whilst many modern productions use screens in place of set, this production uses screens to support its set; there are even screens at the side of the stage. George Reeve’s video designs compliment Andrew Exeter’s set. It’s all incredibly well-thought-out, with excellent attention to detail.

Rory Beaton brought the school gym and theatre to life with his expert lighting design. The spaces felt authentically like what they are supposed to resemble yet look incredibly professional and very Broadway. There is a whimsical quality to it, creating a something of a stylised school.

Similarly, Sophia Pardon’s gorgeous costumes are location and period appropriate but heightened. There are some references to the film but the costumes are largely new ideas. A few more Easter eggs might have been nice, especially having Sharpay wear bright blue during ‘Bop to the Top’.

Aaron Renfree’s choreography is electric. Whilst the cast are exceptionally skilled dancers, he never loses sight of the fact that they are playing non-professional teenagers (some of them amateur performers in a school production) so nothing feels forced or unbelievable. Where a lesser choreographer might turn a basketball sequence into an awkward spectacle, Renfree’s are among the strongest moments in the show. The final game is particularly impressive: the ball is passed among performers holding several lit-up balls which never leaves their hands before one drops from above straight into the net. It never tries to fool the audience; instead, it leans into the theatricality of the moment and makes it thrilling.

The cast arguably had the hardest job because when people think of these characters, they think of the actors playing them. The actors are careful, then, not to imitate. They are not playing Zac Efron and Vanessa Hudgens but rather Troy Bolton and Gabriella Montez, and they make the roles their own.

Tobias Turley proves that he deserved to win I Dreamed a Dream with his stunning singing whilst Leonor Correia brings so much heart to Gabriella. Caitlin Tipping and Luke Bayer chew up the scenery as the love-to-hate Sharpay and Ryan Evans, complete in their semi-matching outfits, the slight differences seeming to represent their slight differences and thus foreshadowing their future disagreement. Char Burnett and Jordan Benjamin are everything Taylor McKessie and Chad Dunforth needed to be, bringing conflict and drama for the leads, whilst ensuring we understand their motives, which are not exactly selfish but more about supporting their communities.

The core cast is rounded off with Simeon Beckett (Zeke Baylor), Olivia O’Connor (Martha Cox), Yna Tresvalles (Kelsi Nielsen) and Curtis Patrick (Jack Scott), all of whom make the absolute most out of their supporting characters. Whilst it is great to see one of the leads, Kelsi, now played by a person of colour, I am reminded of the controversial casting of an Asian actress in The Devil Wears Prada 2, which has been discussed widely.

Top billing goes to Jason Donovan as Coach Bolton, Troy’s dad, and Kaycee Stroh as Ms Darbus. Stroh, of course, played Martha Cox in the films, and she is perfect as the melodramatic Darbus, who oscillates between loving and mean (typical teacher!). Donovan does what he needs to do; it’s always fun to see a pop icon onstage, even in a small role, though it’s hilarious how the only time his character sings is when he sings badly (much like Frank Farmer in The Bodyguard, a role which is often played by well-known musical theatre performers – most recently, Adam Garcia!).

High School Musical is a exactly what I’ve been looking for: a big-budget screen-to-stage adaptation which does not rely solely on name recognition and nostalgia to get people in but actually brings a beloved film to life and builds on its success.