13 Going on 30

© Pamela Raith

Well, there you have it, 13 Going On 30 has made its world premiere at the Manchester Opera House, joining the growing parade of beloved millennial romcoms getting the musical theatre treatment. While these adaptations are near-guaranteed crowd-pleasers (and cash cows), it's hard not to feel like the formula is beginning to wear thin.

This latest outing checks all the familiar boxes: mean girls, emotional upheaval, the dork-to-prom-queen arc. At times, it could feel easy to forget whether you're in Manchester or just a short train ride away in London, seeing 50 First Dates or Clueless orThe Devil Wears Prada or Mean Girls (you get the point) that have all had their turn on stage this year. The territory is certainly well-trodden and maybe the sparkle is starting to fade.

With a book by original screenwriters Josh Goldsmith and Cathy Yuspa, fans of the 2004 film can rest easy. The musical doesn’t miss a beat when it comes to beloved callbacks, quotable lines, and iconic scenes. Is the show great fun? Yes. Nostalgic? Absolutely. It's a fizzy, feel-good dose of early-2000s pop culture wrapped in glitter. Is it also a chance for the girls now in their 30s to relive their youths for a few hours? Ironically, yes. In direct contrast to leading character Jenna Rink, if you're 30 and wishing to feel 13 again for the evening, this one's for you.

Now this new production, despite feeling a little formulaic, does distinguish itself amongst the growing roster of chick flick stage adaptations & offers a lot of merit in several aspects. Leading the cast are Lucie Jones and David Hunter as best friends Jenna & Matt. Not the first time they've played opposite each other (in a musical about a girl named Jenna! gold star if you get the answer *), their on stage chemistry is strong as ever, endearing and believable. The contrasting personalities of the two characters are portrayed well with Matt's grounding, pragmatic and humble force balancing the erratic whimsy of Jenna who’s navigating adult life with a teenager’s mindset. Fans of the film will be pleased with the way their relationship develops on stage, with iconic moments like the swing set scene and the Thriller party recreated with affectionate energy.

Individually, both leads shine. Jones’ vocal performance is effortlessly impressive, equally powerful in solo ballads and high-energy ensemble numbers. Her portrayal of Jenna is sweet and sympathetic, with most comic beats landing well. That said, the naivety and wide-eyed wonder that Jennifer Garner so elegantly brought to the role occasionally veers into dopey territory here, particularly in the high-pressure setting of her fashion magazine job. At times it’s more thirty, flirty, and a bit of a 'bimbo' then “thirty, flirty, and thriving.”

Hunter’s Matt Flamhaff, by contrast, feels wonderfully grounded. He nails exactly what the role calls for: a handsome, down-on-his-luck guy who still holds the key to Jenna’s heart and reminds her of what truly matters. As with Jones, the score gives him plenty of room to show off his vocal strengths, and their duets are predictably swoon-worthy -just as you'd hope from a romcom musical.

Completing the central cast are Jenna & Matt's younger counterparts, on the evening of this performance played by Max Bispham & Amelia Minto. Opening the show, these two are extremely charming and their first number 'Wanna Be' places us in the uplifting, sparkly tone that carries through the rest of the show. Their chemistry is sweet and sincere, and their performances manage to balance the fun of preteen crushes with surprisingly touching moments. Alongside the “Six Chicks” (the resident high school mean girls), the young ensemble delivers slick choreography and a level of attitude that lights up the stage.

Director Andy Fickman cleverly uses the younger cast to echo the show’s central themes. Their appearances throughout the production, often as shadows or reflections of their older selves, are poignant reminders of growth, innocence, and the importance of holding on to youthful aspirations. Central to the plot, the most touching moment is the meeting in which Jenna Rink changes the trajectory of fashion magazine, Poise, taking influence from the frivolity and exuberance of being 13 and the kids she meets in her 30s. It’s refreshing to see a musical not only incorporate a junior cast but give them such meaningful prominence. They’re arguably the highlight of the production.

Unfortunately, the same can’t be said for the older ensemble. While they represent the adult world, the one that’s forgotten how to dream, they are painted in such broad, caricatured strokes that they start to feel disposable. Nowhere is this more evident than in the opening of Act Two, with Peaked in High School, a song centred on the former football captain who’s now a washed-up nobody. It’s a fun, throwaway number but it adds little to the plot and contradicts the show’s broader messaging about embracing who we are. A similar sense of comic excess (and questionable Canadian accents) is found in Jenna’s boyfriend Alex (Dominic Anderson), who offers enough tongue-in-cheek charm for the whole show, but again, with limited narrative weight. At least for fans of the film, many of his moments would be considered essential for this stage adaptation and criminal to have cut.

The scenes set within the Poise magazine offices also feel thin and underdeveloped. Supporting characters Richard (Caleb Roberts) and Lucy (Grace Mouat) give solid performances, but the roles themselves (generic mean boss & snarky mean girl) offer little material to elevate.

The original soundtrack by Alan Zachary and Michael Weiner has a handful of standout numbers - Wanna Be, 13 Going on 30, Why Can’t We Fly, and Here and Now are particularly catchy. Still, this isn’t a score that reinvents the genre. The music does its job: delivering upbeat, feel-good tunes with just the right dose of nostalgia. However, Act II lags slightly, with a few too many emotional ballads and fewer songs that aid any plot progression. A tighter edit here could help with pacing and impact.

13 Going On 30 is, without doubt, a fun night out and a warm-hearted love letter to a much-loved film. This world premiere makes a strong case for future runs, powered by a talented cast (especially its junior ensemble), some infectious musical numbers, and plenty of nostalgic charm. With a few refinements, particularly in supporting characters and second-act pacing, this production could evolve into one of the more memorable entries in the current wave of romcom musicals.

*Waitress the Musical

More Theatre Reviews...