Podcast Summary: MickeyJoTheatre

Episode: Disney's Freaky Friday the Musical (HOME Manchester) - ★★ REVIEW

Date: December 22, 2025
Host: Mickey Jo (MickeyJoTheatre)

Overview

In this episode, theatre critic and content creator Mickey Jo provides a detailed review of the UK professional premiere of Disney’s Freaky Friday: The Musical at HOME Manchester. With his signature candid wit, Mickey explores the musical’s origins, its adaptation choices, the quality of its material and performances, and how it compares to previous film adaptations. He praises select cast performances but critiques the adaptation’s depth, tonal choices, and overall execution.

Key Discussion Points & Insights

1. Background and Source Material

[01:17-04:45]

• The show is not directly based on the popular 2003 film (Jamie Lee Curtis, Lindsay Lohan) but draws from the original 1972 Mary Rodgers novel.
• Trivia: Mary Rodgers (author of the novel) is a noted Broadway figure—daughter of Richard Rodgers and mother of Adam Guettel.
• The show mixes elements from different film adaptations, notably the “mother about to get married” storyline, but retains the core premise: a mother and daughter switch bodies and walk in each other’s shoes.

Quote:
"This pretty much just extrapolates the idea of a mother and daughter switching bodies with some familiar elements from a couple of the film adaptations... but the key story here is the same that you get introduced to their life and their dynamic." (Mickey Jo, 03:05)

2. Narrative Structure and Framing Choices

[04:45-07:50]

• The musical uses a framing device: Ellie (the daughter) introduces and reflects on past events with her mother, but they’re still bickering in the present—muddying the message of personal growth.
• Mickey Jo criticizes this as unnecessary; feels like “writing that didn’t know how to begin this thing.”
• The show starts abruptly on the morning of “Freaky Friday,” rushing introductory context and emotional build.
• The switch mechanism: a magical oversized hourglass (a departure from the film’s “fortune cookie” or other magical conceits).

Quote:
"It sort of feels like, well, if that's happening in the future and we're looking at this Freaky Friday that happened in the rear view mirror, and clearly it didn't achieve all that much." (Mickey Jo, 05:55)

Notable Moment:
Mocking the plausibility and use of giant magical hourglasses as plot devices.
"These things are so huge, they could start talking to you in a touring production of Beauty and the Beast." (Mickey Jo, 06:50)

3. Character Adjustments and Thematic Focus

[07:50-09:17]

• Ellie is no longer an aspiring musician; her main passion is a school-wide scavenger hunt.
• The relationship and lessons between mother and daughter feel watered down compared to previous versions.
• Mickey Jo suggests the adaptation has lost opportunities for deeper emotional resonance.

Quote:
"It’s not as substantial a revelation as the ones we’ve seen them experience on screen... it sort of inhibits its own ability to land a really emotionally meaningful and connecting conclusion." (Mickey Jo, 04:45)

4. Music, Lyrics, and Tonal Execution

[09:51-14:15]

• Written by Bridget Carpenter (book), Tom Kitt & Brian Yorkey (music/lyrics).
• The score has highlights ("Just One Day") but suffers from clunky, on-the-nose lyrics.
• Mickey Jo ridicules the title-drop lyric about “Friday” in “Just One Day” as forced and cringeworthy.
• The overall tone feels “bubblegum adolescent” and skews juvenile, resembling a Disney Channel movie more than sophisticated musical theatre.
• Critiques the growing trend of stage musical adaptations sounding like SNL parodies.

Notable Quotes:
"...the problem that I have is with the line that comes immediately afterwards because it's so painfully on the nose. It's the kind of lyric that makes my eyes roll all the way into the back of my skull, at which point I can't see anything that's happening on stage." (Mickey Jo, 11:15)

"...what makes this feel like those parody musicals, those little Saturday Night Live style skits based on films..." (Mickey Jo, 12:10)

5. Specific Song and Scene Critiques

[14:15-21:50]

• The “scavenger hunt” subplot and Adam’s recurring song suffer pacing issues; scenes feel unnecessarily extended.
• Adam (Ellie’s crush) sings a problematic song comparing women to sandwiches, which Mickey Jo finds both baffling and off-putting.
• Emotional climaxes (like Ellie learning her brother admires her) are rushed or undermined by the staging/song choice sequence.
• Mentions Andy Fickman’s direction (also did 13 Going on 30’s stage adaptation), finding it slick but emotionally shallow.
• Jokes about inadvertently rude lyrics/near-rhymes in “I Got This,” providing a comic tangent.
  “Not where I thought that lyric was going…” [19:35]

Memorable Moment:
Mocking the song about Adam’s view of women and sandwiches:
"...when that then ushered in a song, I thought, oh no." (Mickey Jo, 16:20)

6. Performances and Staging

[22:45-27:10]

• Rebecca Locke (Catherine, the Mom): Standout performance—dynamic, vocally stunning, the main reason Mickey Jo enjoyed the show at all.
  • Criticism: Locke deserved material as rich as Jamie Lee Curtis’s iconic film role.
  • Visual transformation (wigs, costumes) failed to reinforce body-swap concept.

Quote:
"At this point, I will travel anywhere in the country, perhaps the world, to see Rebecca Locke on stage... She is formidable. She is perfect for a role like this." (Mickey Jo, 22:50)

• Jenna Pandya (Ellie):

  • Does a creditable job as daughter-turned-mother, but the transformation reads less clearly.
  • Scenes at school don’t reinforce the “adult-in-a-teen’s-body” conceit as well as Locke’s comic scenes do.

• Max Merza (Adam):

  • Charismatic, but trapped in a cliched role with lackluster material.

• Set design: Effective, if somewhat “on the nose” and generically new musical theatre.

7. Overall Judgment and Final Thoughts

[27:10-29:06]

• The show is entertaining at face value with “bops” and strong vocals, but lacks the emotional drive and depth of the 2003 film.
• Clunky dialogue and creative choices make it feel more like “an adult version of a kids’ show.”
• The adaptation fails to deliver the intergenerational emotional payoff the premise promises.
• Some moments amuse or entertain, but expectations for emotional connection or narrative sophistication will likely disappoint.

Quote:
"There are strong performances, there are great vocals. I don't think it really lives up to the quality of the film. If that storyline is what you are expecting, then it is perhaps also a disorientating watch." (Mickey Jo, 28:15)

Notable Quotes & Memorable Moments

• On forced lyrics and titles:

  • “It’s the kind of lyric that makes my eyes roll all the way into the back of my skull...” (Mickey Jo, 11:15)
  • “It’s as though we’re watching parody versions that were meant as punchlines becoming real musicals.” (Mickey Jo, 12:40)

• On standout performance:

  • “Rebecca Locke…she is formidable. She is perfect for a role like this.” (Mickey Jo, 22:50)

• On the emotional core:

  • “We’re missing the emotional release of these moments. You long to be able to...find some sense of emotional connection from the audience.” (Mickey Jo, 21:10)

• On adaptation trends:

  • “It’s starting to feel like what Andy is creating on stage is the equivalent of children’s shows, but for grown ups…” (Mickey Jo, 20:45)

Timestamps for Major Segments

• Background / Source Material: 01:17–04:45
• Narrative/Framing Critique: 04:45–07:50
• Character/Thematic Focus: 07:50–09:17
• Music & Lyrics Analysis: 09:51–14:15
• Specific Scenes/Songs: 14:15–21:50
• Cast & Production Review: 22:45–27:10
• Overall Verdict: 27:10–29:06

Conclusion

Mickey Jo delivers a thorough, witty, and at times scathing critique of Freaky Friday: The Musical at HOME Manchester. While skillful performances (notably from Rebecca Locke) and some catchy tunes elevate the production, the adaptation’s lack of emotional depth, rushed storytelling, and uninspired lyrics prevent it from reaching the heights of its most beloved film version. Ultimately, it may provide a fun if superficial evening out, but it falls short for those seeking memorable musical theatre or heartfelt connection.

For more reviews and theatre chat, follow Mickey Jo on YouTube or your favorite podcast platform.