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Terms apply. Lounge access is subject to change. See capital1.com for details. If I hold this here, does this look like I am her, just with an enormous head? How is this lining up? Is this working? So 13 going on 30 is the latest movie to be turned into a stage musical and the verdict is in. She's 30, she's flirty, she is not exactly thriving. Let's talk about why. Oh my God. Hey, welcome back to my theatre themed YouTube channel. Or hello to you if you're listening to this review on podcast platforms. My name is Mickey Jo and I am obsessed with all things theatre. I'm a professional theatre critic here on social media and today I'm going to be telling you all about the brand new musical adaptation of the popular film the 13 Going On 30. It is currently playing a world premiere production at Manchester Opera House. I saw the opening night performance earlier this week and I am very excited to tell you all about it. Previous to that, I had seen a workshop presentation of the show, which I was cautiously optimistic about. I had also seen a press preview, much of which I shared here on social media. And in spite of the extraordinary respect and fondness I have for this cast, for this creative team, a lot of really, really brilliant, talented people who have put all of this. I would have to ultimately say that I was disappointed by that production for a handful of reasons that I will explain in detail in this full review. Sadly, although our protagonist Jenna Rink is going on 30 right now, I wouldn't say that this musical feels like it's going on anything resembling triumphant success. But of course, as always, that is just my opinion and I would love to hear yours. If you have already had the chance to see the world premiere production of 13 going on 30 at the Manchester Opera House, let me and everyone else know your thoughts and in the comments section down below. And if you like listening to my review, make sure you're subscribed wherever you are seeing my face or hearing my voice so you don't miss my upcoming critical coverage. In the meantime, let's talk about it. Why was I disappointed by 13 going on 30 the musical? So let's talk source material Interstage Musical Adaptation how did they take this movie from the early 2000s and turn it into a musical like so many before it? And did it really deserve to be turned into a musical in the first place? Because a lot of popular films from this era are getting this treatment? Earlier this month I saw the brand new stage musical adaptation of the romantic comedy film 50 First Dates. I recently shared a review of that one in which I characterized it as feeling perhaps a little bit generic and not as emotionally impactful as I would have liked, but with some strong and charming performances and the capacity to make me cry a little bit on a couple of occasions. And on the ever growing ranking of all of the films that have been turned into stage musicals, with Legally Blonde and Groundhog Day and similar shows sitting firmly at the top of that list, 13 going on 30 I felt sat a little bit lower than 50 first dates, and that's because not only was I minimally emotionally involved with this story, I just didn't really care. But also I think I found it harder to engage with the story and I felt like it missed a lot of really important emotional and impactful beats within the storytelling within Andy Fickman's production. So it wasn't just that it didn't move me, I also felt like the whole thing lacked power and wasn't really living up to at the strength of the source material. Because I like the 13 going on 30 movie, I fondly recall it from adolescence and I was really excited to see this. I turned 30 just over a month ago, less than a month ago in fact. I've aged myself already and so I thought what brilliant timing. But the 30 that is represented in the show felt like a concept that was not particularly familiar to me and one that became Increasingly vague. Before I go on, let me briefly summarize the plot of the film and by extension the stage musical, which pretty faithfully adapts it to, perhaps even too faithfully. So we meet Jenner Rink as an awkward 13 year old desperate to fit in with the popular girls at her school. Think the Plastics from Mean Girls, think the Heathers from Heathers. Only in this there are six of them, and so they are called the Six Chicks. She is completely oblivious to the fact that her devoted best friend Mattie, who is an aspiring photographer, is clearly in love with her because all she wants to do is get noticed by the cute football player Kyle Grandy and become one of the six chicks, despite the fact that there are, as Matt points out, already six of them. But when the leader of that group, Lulu, orchestrates a cruel prank at Jenna's birthday party, leaving her alone with Mattie, she desperately and painfully wishes that she could wake up and be 30 instead, because that's the kind of life that she wants to lead. She is looking at Poise magazine, which she worships, and reading an article about how the 30s are the best years of your life and she wants to be 30 and flirty and thriving. And so she recites this and then magically is Transformed into a 30 year old version of her herself, except she has jumped forwards in time, so the whole world around her is also 17 years older, only they remember it happening. And she still has the mind and the soul, I guess, of a 13 year old. And that is where the charm of the film comes into it. In the original, this was Jennifer Garner portraying a visibly adult woman with the thought processes of a teenager experiencing this life and its possibilities and what adulthood can be for the very first time, the freedom of it, but then also the challenges that that represent and an estrangement from her parents and a lot of misgivings about the person that she has allowed herself to become in pursuit of everything she thought she always wanted. So in the movie, like in the musical, Jenner Ink comes to find out that she doesn't really love the 30 year old she has turned into and goes about trying to fix her life and reconnect with her childhood friend Mattie, from whom she has also become estranged since the traumatic events of her 13th birthday party. Important to note that she's also dating a Canadian hockey player who she stole from her best friend, frenemy Lucy, who is the adult version of Lulu, her high school bully. They now work together at Poise magazine as hotshot magazine editors. In this flashy but frivolous industry. And in terms of whether or not this deserves to be a musical in the first place, I think there is enough about the magical transformation of it all and the whole fish out of water element for this one character who finds herself in a world she is coming to terms with and doesn't immediately recognize, that does speak a lot to classic musical theatre tropes. I think there's also something almost Faustian about the concept of her wishing for this future to become her present and then having to reckon with the consequences. Though it's not nearly as serious as all of that. But it is an inherently theatrical story. And I don't think of all of the films that have been turned into musicals, that 13 going on 30 is the least deserving of that treatment. I just wish that a little bit more care had been taken in adapting it and reworking parts of it so that it could have played a little bit better on stage. A brilliant example of this is one of the most iconic moments. If you know the film, you'll know this moment. Jenner Ink goes to a party for the magazine wearing this iconic stripy dress, the colors of which are everywhere throughout this production's design. We'll talk about it in just a moment. And a funky hairstyle, exactly the outfit that a 13 year old would think would look really cool. That doesn't quite gel with everyone else around her, but with that same 13 year old naivety rather than confidence, she ends up igniting a much better party atmosphere. It's otherwise pretty dead. By convincing the DJ to play Thriller, which, you know, during her adolescence was huge and everyone would dance along to. And in the years since has dwindled a little bit, or at least is not something that adults would openly perform synchronized choreography to at a party, but she starts performing the dance from Thriller and convinces everyone to do away with their inhibitions and recapture their own youth and nostalgia by performing Thriller with her. And they have licensed the song Thriller for this musical alongside an otherwise original score. Only this moment happens really early. It's the kind of a moment that feels like it ought to be. If not the Act 1 finale, then really close to that. It feels like this ought to be, you know, the high point. She is finally succeeding and her youth is a benefit to her as a 30 year old rather than being detrimental. It's also pretty much the one really iconic visual moment of the show, her wearing that dress and them doing Thriller. But not only is the sequence itself weirdly minimally impactful, particularly because the way that the song is arranged. We just hear the iconic introduction on loop and then we never hear the first verse. We go straight into a chorus. They also all start dancing way too fast. Like she does a little bit of it and then she's like, matt, come help me. He does so instantly he's like, I don't want to do this. And he's like, you know what? Yeah, I will. And then everyone simultaneously joins in, missing that feel good thing. One person doing it and another person doing it. And then Lucy being like, oh, well, I guess I'd better go do it as well. And then their boss joining in. It should be gradual. It would be way more satisfying. Not just everyone suddenly starting to do Thriller together and the whole thing lasting for a very short amount of time. And you start to realize when watching this show, in comparison with a Mean Girls or a Heather's, there aren't that many iconic lines and iconic moments, especially because they don't do the other big musical moment from the movie, which is Love is a Battlefield. At the slumber party that she has a little bit later on, they do a version of the slumber, but we don't hear that song. Now what I think would be a better use of this moment and of this sequence is to have that be towards the end of the first act, there is weirdly after this song, a moment when she goes to her adult walk in wardrobe and is running in and out of it. And they use body doubles quite well for this so that Lucy Jones can get changed behind it into a glamorous silver dress, something that a 30 year old would be more likely to pick out for themselves. Which feels like it ought to be the way of introducing the iconic stripey dress. Like she just walks on in the stripy dress and people aren't sure whether not to clap for it. But that should be the moment building up towards her going to the party, which should come at the end of the first act. Everything is going well for her. And then bam. Lucy tells Matt that he can't come to the afterparty, putting Jenna in a difficult position of having to decide the person that she wants to be. She finds out that she's having an affair with Darius Mark there and then and not a few scenes later. Maybe she even gets a message from her assistant about how her parents didn't return her call or have gone away again. Then she, in contrast with the high of having just saved the party and performed Thriller with her friend, is brought face to face with the reality of the life that she has created for herself and the poor choices that she has made. At which point she can sing an Act 1 ending song about how 30 isn't exactly what she thought it was going to be, and she resolves to do something about it. Interval Instead, the whole dress and thriller moment happens early enough in the first act that it just feels like they're doing it out of obligation. And we then have a handful of ballads that drag us slowly towards the interval with an act one that feels more way too long. Now the book for the musical has been written by Josh Goldsmith and Kathy Jesper, who also wrote the original screenplay, which can sometimes be a little bit of a red flag. And sadly, I do think that this is one of those occasions there were problems that got ironed out since the workshop when they had Jenna buzzing the door to Matt's apartment, meeting him at his doorway after going up the elevator, and then deciding instantly that the two of them should then go for a walk outside, taking us back outside again through multiple needless SC scenic transitions. Now she just meets him on the way out of his building, which makes so much more sense. But there are lingering problems in sticking too closely to the original source material and the big picture problem here this may be the key issue with this show's identity as a stage musical is no one has really reckoned with the inherent difference between film and stage as a medium. And on screen. You know, they're shooting in the streets of Manhattan and she's behaving bizarrely because she's a 13 year old trapped in the body of a 30 year old surrounded by other adults who are raising their eyes eyebrows and looking at her out of the corner of their eyes because she's being weird in an ordinary world. But in the stage musical she's being weird in a musical theater world. So a lot of the other characters around her, although they're meant to be well adjusted adults, are also bizarre and cartoonish. Her Canadian hockey player boyfriend is a great example of this. It's also not a harsh, realistic adult environment that she finds herself flung into. It's a musical theater one whose musical identity isn't necessarily consistent because sometimes you have neighborhood characters jumping into song and dance, performing backing vocals for a character from her teenage years that she's reconnecting with. The whole thing is such a giddy, cartoonish world to such an extent that by the middle of the second act I've truly lost any connection to the realization that she is meant to seem like a 13 year old. She just seems very enthusiastic and earnest alongside a Lot of other jaded co workers. And I say a lot of jaded co workers. There is a large adult ensemble in this show and a decent number of child performers to portray the first 10, 15 minutes as well. They also recur in other roles throughout the show. But that adult ensemble play a bunch of neighborhood characters, play party guests and play people in the office. But there are so many sequences where they could be used to greater effect because her world feels really small. She turns into a 30 year old and she is working in Manhattan. We just need more traffic across the the stage. We just need more passing scene transitions where she's trying to navigate this difficult and challenging adult world and she doesn't have parents to help her anymore, even at the beginning. We need a few more characters in this school environment because we mostly only encounter the ones who have names. And it seems a little bit like Jenner Ink goes to a middle school with nine students. No wonder she feels ostracized and bullied. 80% of the students at this school, aka seven of those kids, really don't like her. And there are so many adults in the ensemble. Just have a few of them walk around teachers. If anything, we need to highlight the difference between the kids on stage and the adults on stage from the very beginning. And you would think of everything that we can get right in the stage version of this. It's the clarity of that transformation and that time. But there's one major fumble here, which is Jenna's parents. I think they are styled to look a little bit too old at the beginning when we first encounter them as parents to a 13 year old. And when she then seeks them out and reconnects with them as a transformed 30 year old. If anything, her mom is looking great and looks a little bit younger. They should both look 17 years older. They don't look older, they don't act older. And they are a little bit surprised to see her as they just arrived back from a cruise. And we know that she hasn't visited in a while and that she's told her assistant never to interrupt her for family calls and their relationship has deteriorated. But this should feel really painful. This should be an emotional moment in the show and this should be where we can finally connect to the thing. But we don't, because they resolve to just let her sleep on the couch and they get her a blanket and they're a little bit taken aback, but not in a way that portrays any kind of sincere emotion. We should be able to tell in the subtlety of what they're not saying that they were hurt by her not coming back for the holidays and that they are shocked to see her now and that to hear her say, can I stay here tonight? Can you help me? I think I've made bad choices. That should be everything. They've been waiting to hear from her for years, but there's no sense of it meaning that instead we're just making a joke about the fact that her dad doesn't know where the blanket is. There should be like a frosty thing between them and then maybe he comes back down while she's sleeping and kisses her on the forehead. There should be a meaningful reconnection. Her mom laughs off the fact that she usually goes to St. Barts for the holidays and they've put a gym in her room. So the music and lyrics for 13 going on 30 have been written by Alan Zachary and Michael Wyman. Now and when we're at the beginning and it's the kids material and there is a repetitive quality to it that feels juvenile, that works and that's cute and that's fine. And I really like that opening song. I wanna be wannabe wannabe Older than, older than older than older than bolder than bolder than bolder than bolder than bolder than me to give you a sense of the repetitive lyrics I was telling you about, there's a fun like Heather's style mean entrance moment for the six chicks. Kyle Grandy is hilarious. It's a really strong opening. And when Jenna grows up, it stands to reason that her lyrics can continue to sound a little bit juvenile because she's 13 and the score ought to characterize her in that way. The problem is that everyone else is similarly repetitive. We have all of these songs with all of these choruses that say the same things over and over and over again. For grown up Matt Flamhof, he is repeating this metaphor about being left out in the rain. Whenever we transition back into scenes at the workplace, there's often a song where they just sing the of the magazine over and over again. They're just singing Poise repeatedly. The show has a title song and I'll give you a little taste of it now. Jenna sings, I'm 13, 13, 13 going on 30 30, 30 going on 13 13, 13 going on 30 I'm 13 going on 30 those are the actual lyrics. Towards the end, she has an 11 o' clock number. She is making her presentation about the future of Poise magazine. They are struggling in the face of competition from a rival magazine called Sparkle, and she suggests A more wholesome direction that they could go in. At one point in that song she's singing, we can show everything. We can show everything. We can show everything. Everything. She connects with a 13 year old girl who is one of her neighbors in the building that she lives in and she gives her advice about her life. And then we meet these other teenage characters and they have a slumber party and she sings a generic musical theater song of empowerment to them that feels very familiar of the kind that we've heard in Doubtfire and Back to the Future. It's Put your mind to it 2.0, I think it's called Own it. You better own it. Yeah, there you go. And they're catchy enough. They're living in my mind. Many of the melodies that we hear throughout the show echo ones that we heard in that first song at the beginning, which is sort of clever, you know, it's echoes of the ideas that she had as a teenager and she's bringing that energy to her adult life. But for that to really work, we ought to hear a musical contrast in the world around her and we ought to hear her involvement, voice seeping into that. Instead, the ensemble and everyone else in the show just regresses to meet her at that emotional, intellectual and musical level. Everyone starts to feel and sound like a teenager in an adult's body, which is not great. And which is where we really lose the contrast of what this story is meant to be. And I told you that the charm arises from her looking 30, acting 13. And if we can't infer that anymore, the whole thing falls down. Which is without pointing a finger at the fact that there are probably just too many ballads saying the same things. I don't know that all of the decisions about which moments to musicalize have been the strongest ones. I like that Lucy gets a little mini sort of Disney villain esque reprise towards the end, but I think she needs something a little bit more substantial as a character because the time spent with her, the time spent with their boss is all fantastic. But I feel like it does just feel like the slightly undeveloped first draft version of musicalizing this film. Like you take the screenplay, you put songs in at the most obvious moments and then that's the version that you go with. It reminds me of the musical of other shows like Back to the Future and like Mrs. Doubtfire. And the young performers in the company are a real asset. One of the most moving moments that we get visually is when Jenna is making this presentation and the back of the set design lifts up to reveal an image of the COVID that she was pitching and all of the kids are there and the outfits that her new 13 year old neighbour friend has helped to design for them. But there are also a couple of moments where we see young Jenna and young Matt appearing alongside their adult selves as the memory of them, them. And A, it's overused just a little bit. It would be more powerful if there was a little bit less of it. I think it happens twice and it ought to only happen once. And B, I don't like that there is an exact symmetry in the way that they engage with them, that Lucy is singing this as the young version of Jenna comes and sits next to her and then David is singing his part of the song and the young version of Matt comes and sits next to him. And the way that she connects with her 13 year old version of herself ought to be different than the way that he does because his is so much more of a stranger to him. Maybe, maybe him and his 13 year old self can't duet as easily. Maybe they're not in such exact proximity to each other. Maybe he can't see him, but Lucy can because she can remember him like it was yesterday, because for her it was. But it shouldn't be that they have exactly the same relationship to their younger selves because then once again she just feels like a 30 year old and not a 13 year old. We really need to understand that that's what we're looking at. But we are migrating, I fear, from a conversation about the score into one about the direction. Let's talk about some of the creative choice now. I've spoken a little bit about some of the other things that I would have liked to have seen in Andy Fickman's direction already. With just a little bit more business on stage and just a little bit more traffic occasionally and more usage of this very large ensemble cast. I think generally the. The whole thing feels a little bit extended beyond the way that it's being staged. It's almost as if it's been created for a smaller space and it's now playing a much bigger one. And one of Andy Fickman's most successful stage projects has been the production of Heather' which was created in a very intimate space and does very well with an adaptable, mostly solitary set design. The set design for this is by Colin Richmond and we have a lot of different screens and projections happening. We are leaning a lot into the idea aesthetically that Matt is a photographer and so the image of like Polaroid pictures is conjured a lot in these screens and the imagery and the logo of the show. And there's something to do with, like, nostalgia and memory all wrapped up in that as well. So that all works. It's a little bit high tech and it's a little bit hard to then visually separate the time that it was when she was a 13 year old and the time that it is now. I like a lot of the details with the colours of the dress that seep into the set design and the costume design. We see six lockers in the middle school set at the beginning, which are the same colors as the different stripes in the colorful dress that she wears in the film. Those colors pop up throughout the costume design, which is by Gabriela Talsova. And I still can't decide whether I think that's really clever ever, or whether I think it's indicative of how little about this movie is visually iconic, that that's the only thing we have to lean into and so that that one reference is just spread throughout the production, everywhere. Now, we also have video design incorporated into the production, mostly on screens around the back of the stage. This has been designed by George Reeve, and I have such a bone to pick with this that I may as well be a chicken drumstick, because I thought we were all more or less on the same page when it came to the use of AI artificial intelligence in the creative sphere. And I don't mind it as a tool used by designers in order to streamline their work, in order to achieve things that wouldn't otherwise be possible without considerable expense. What I don't like is when it is used so blatantly as an entire workaround. And there are two songs in this show when we flash up a bunch of photographs from the past. The first is a duet. It's maybe the second song in the show between. Between young Matt and young Jenna. And he's showing her pictures of the two of them and reflecting on the years of childhood they've spent together. And we are seeing blatantly AI generated images of two young characters having childhood memories who are sort of approaching the age of 13, different ages in each picture, who occasionally resemble the two actors we're seeing on stage. Worth pointing out, there are two casts of children, so they're not going for an exact resemblance to those ones, I'm assuming, unless they've done all of this twice, which is possible because, you know, it's AI generated, so it's not like it took them hours. But the more egregious one, the considerably More egregious one is when Jenna finds adult Matt Flamhof and he shows her their high school yearbook. And then we flash up images from the high school years which are deliberately made to look like de aged versions of Lucy Jones and Grace Moat, or slightly aged up versions of their younger selves, or a hybrid between the two. And the AI here is so bizarre and so obvious. It has that clearly identifiable AI look. There is te the background of some images that is clearly garbled nonsense. Lucy's hair in the show is like blonde highlights with dark roots. And the AI does not know what to do with this. Like, that changes wildly from one picture to the next, whether she's entirely blonde or whether it's like bleach blonde into like almost black on the top. They cannot figure that out. They just can't process a balayage for some strange reason, which on the one hand is comforting because it does entirely undermine the credibility of the robots that are meant to be taking over the world. World. But still, I resent the entire thing. And it's always difficult if you want to show pictures on stage that look like your cast members but need to look like younger versions of themselves. And I maintain they could have styled them in perhaps a tongue in cheek way, or, you know, just photoshopped stuff, or even just edited the AI images that they generated. I don't know why people create these and then do nothing with them. Is there no one involved in this production who has any kind of graphic design ability whatsoever? Somebody did this for the program. Get this person to do something. What the hell is going on? Who Was this person? D.E. winters Creative. That's all I know. Morgzy is credited with associate video design because we needed more than one person to create the AI imagery. I don't know at whose feet I am laying all of this blame, but I thought it was egregious and uncomfortable and disappointing. I don't like the precedent that it's setting. I don't like what it represents, and I don't think it looked good. I think it looked creepy and bizarre and pushed us just another few inches away, away from gaining any kind of proximity to the emotional heart of this show, which I never really felt like I got a good look at. Paul Kiev is credited with the illusion design, and I don't think there was really a single moment where I thought, I wonder how they did that. Sam Cox is credited with the wigs, hair and makeup, about which I have a similar comment to the one I have about Jennifer Weber's choreography and I liked Jennifer's choreography. I always like Jennifer's choreography on stage. I think there's something very dynamic and very contemporary and cool and just tick tocky enough about it that it feels very current. The issue is that's how it felt in both the flashback middle school scenes and the 30 year old scenes. And in the design, in the choreography there was really very little acknowledgment of the fact that this was taking place in two different decades. But if you're going to keep the thriller moment in then inherently you have to acknowledge that that is for her coming out of of nostalgia. And we get that in the film. To my mind, I don't think in the film they even preempted the thriller moment. I think they don't talk about it before she does it at the party, but when she does do it we're like, oh yeah. Because she's from like the 80s. In the stage show they actually go to the trouble of doing a mini thriller pre pre with her and Matty as kids and having a lyric about like I love like when you teach me the thriller dance something to that effect. But otherwise the choreographer movie is not emblematic of the fact that we're in the 80s. There is no change in style there. Not all of the costuming necessarily feels like that. I don't know who in the production has made the decision that each of these time periods should feel non specific. But because we are conjuring this on stage, I think again that's just making everything harder. And it's not like an audience is looking at this in confusion going wait, I don't know what's going on. It's very clear what's going on even if you don't know the film. But it's the details of that which are going to be enjoyable. The great thing about the Thriller moment in the movie and is realizing in real time why she's doing this and why she thinks that that moment is going to kill. And then we know in modern times that it's that it's going to be a little bit unexpected and people are going to be like Thriller. Really? Are we doing this? I also mentioned that the young performers come back as kids when she's 30 who she and her young friend helped to style for a potential magazine cover shoot. And she gets Mattie to shoot it and she gets her 13 year old neighbor girl to design outfits for all of them. When these kids are brought on stage, this girl says something like, you're all here because you're losers and outcasts, and you all like your own weird, edgy things, except they're styled like such trendy, stylish teens that none of these people look like geeks in any way. And I can say that because I absolutely was. And the solution is to give each of them. I'm gonna try and not laugh about it. The solution is to give each of them a statement jacket, at least one of which is sold en masse at TK Maxx. I know this for a fact. I saw it last week. Week. And they're very trendy jackets. The whole thing looks like a Gap Kids ad by the end. But I don't know that it's really celebrating their individuality like the song is saying that it is. There is, however, one thing that we can absolutely enjoy on stage, which is this brilliant company.