13 Going on 30 The Musical

Manchester gets it first once again, hosting the world premiere of another major musical at the Opera House. This time, it’s 13 Going on 30: The Musical, a brand-new stage adaptation of the beloved 2004 film starring Jennifer Garner and Mark Ruffalo. Garner, who played the lead role in the original movie, returns as an executive producer on the musical.

After several developmental workshops in 2023, 13 Going on 30: The Musical is now receiving its first full-scale production, helmed by Heathers: The Musical director Andy Fickman. At the heart of the story is Jenna Rink, a 13-year-old girl who dreams of being popular. Desperate to impress the cool kids at school, she convinces them to come to her birthday party. When things don’t go as planned, Jenna makes a wish to skip ahead to adulthood and wakes up as a 30-year-old woman in New York City writing for Poise magazine that she grew up reading. Suddenly living the life she always thought she wanted, Jenna soon learns that being grown-up isn’t as easy as it seems.

With a pop/rock score by composers Alan Zachary and Michael Weiner, and a book by original screenwriters Josh Goldsmith and Cathy Yuspa, the musical stays true to the charm of the film while adapting it for the stage. 13 Going on 30: The Musical explores friendship, self-acceptance, and the age-old wish to grow up only to realize what we had at 13 might not have been so bad after all. While the score is tuneful and fits the tone of the show, it falls short of delivering truly memorable standout numbers. For example, the Act 2 opener, Peaked in High School, was an underwhelming choice to start the second half, lacking the energy needed to re-engage the audience. Still, songs like the high-energy opener Wanna Be, the empowering Own It, and the heartfelt finale Here and Now manage to leave a positive impression.

With the recent wave of movie-to-musical adaptations, think Clueless and Heathers, 13 Going on 30: The Musical fits comfortably into the trend, bringing a familiar blend of teen drama, nostalgia, and heartfelt coming-of-age themes. Tonally, it sits somewhere between The Devil Wears Prada and Mean Girls, combining the glossy, high-stakes world of fashion with the emotional ups and downs of teenage friendships and popularity. While it’s entertaining and easy to enjoy, it doesn’t bring much new to the genre—feeling more like a nostalgic comfort watch than a bold reimagining of the teen musical.

Iconic moments from the film, such as the Thriller dance, make an appearance for fans, providing a sense of familiarity and fun. While there are scenes that are humorous, the show rarely reaches moments of outright hilarity. More importantly, the production struggles to create a strong emotional connection with the audience. Key moments fall flat because the characters don’t react believably to Jenna’s sudden transformation. When Jenna clearly doesn’t recognise anyone, those around her seem largely indifferent, attributing her behaviour to a hangover rather than the shock it should cause. Similarly, when Jenna visits her parents after apparently cutting them out of her life for 12 years, their lack of concern or emotional response feels oddly detached and unrealistic. These choices weaken the story’s emotional impact and make it harder for the audience to fully engage.

West End favourites headline the cast, with Lucie Jones taking on the lead role of Jenna Rink. Jones convincingly portrays the 30-year-old who is still very much a 13-year-old at heart, capturing the character’s innocence and confusion with genuine authenticity. Having been part of the earlier workshops, it’s clear she has grown comfortably into the role. David Hunter joins the cast as Matt Flamhaff, Jenna’s next-door neighbour and childhood friend. Though new to the project, Hunter admits he signed on partly because of his strong chemistry with Jones. Their onstage connection is natural, no doubt helped by their previous work together and offstage friendship, adding depth to their performances.

Grace Mouat shines in every role she takes on, and this performance is no exception. Lucy is Jenna’s best friend who also works at Poise magazine. However, her character doesn’t quite get the opportunity to fully unleash a more dramatic or villainous side, leaving her considerable talent somewhat underutilized in this production. Caleb Roberts delivers a solid performance as Richard, the demanding and often over-the-top boss of Poise magazine, bringing a lively energy to the role. Dominic Anderson appears as Alex, Jenna’s boyfriend, though the character is underdeveloped and relies mostly on his physical presence rather than having much depth. Jenna Innes plays Wendy, Matt’s girlfriend whom he plans to marry and move away with, but the character is underused, appearing briefly in just one fleeting scene before disappearing from the story.

The cast is supported by two talented teams of child actors—Team 13 and Team 30—aptly named for their roles. These young performers shine, confidently leading the show’s opening 15 minutes and appearing throughout in various scenes. Each time, they impressively match the talent of their older counterparts. Max Bispham, especially, brings a natural ease to the role of young Matt. Given the strength of the young cast, it's surprising how little time is spent developing Jenna as a 13-year-old. Her magical transformation into a 30-year-old woman feels underwhelming—reduced to a clunky blanket switch that lacks impact.

Colin Richmond’s set design was engaging, complemented by George Reeves’ effective video design, which used moving frames and projections to evoke different locations, from the Poise magazine headquarters to Jenna’s New York apartment. Despite the many scene changes, the simple set paired with the video elements made transitions clear and seamless. Gabriela Tylesova’s costume design was bright and appealing for the most part. However, Jenna’s silver cocktail dress at the boujee corporate party felt unrealistic for a 30-year-old, and somewhat inconsistent, especially since other characters are seen using smartphones, which suggests a more modern setting. That said, the nostalgic dress from the film also makes an appearance, adding a nice nod to longtime fans.

With original film writers Josh Goldsmith and Cathy Yuspa involved, the musical successfully introduces the story to a new generation of fans while retaining enough nostalgia for longtime viewers. Many will enjoy this fresh take on the cult classic movie. However, like many movie-to-stage adaptations, it plays it safe. As a result, the show feels more like it’s surviving than truly thriving, lacking the innovation needed to make a lasting impact in today’s crowded musical theatre landscape.

This show was reviewed on the 30th September 2025 at the Opera House, Manchester where it runs until the 12th October 2025.  Tickets available here: 13 Going On 30 – The Musical Tickets | Opera House Manchester in Manchester | ATG Tickets

Review written by Jordan Potts

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Photo credit: Pamela Raith

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