13 Going On 30 musical review – a sugar rush of a show, set to thrive

For any of us who ever wished you could fast-forward through those awkward years of braces, confidence blips and the perils of navigating first loves, then 13 Going On 30 – The Musical is your glittery time machine. Bursting onto the Manchester Opera House stage with sequins, sass and just the right dose of early-2000s nostalgia, this show is a frothy cocktail of teen angst, grown-up dreams, and the joy that comes with finding self-awareness.

From the moment gawky teen Jenna Rink makes her fateful wish at her 13th birthday party, the production zips along with infectious energy as she awakes with the body of her glamorous 30-year-old self. Cue a chaotic crash course in adulthood involving career crises, friendship fallouts, and one very important realisation: growing up doesn’t mean giving up on who you are.

Lucie Jones captures both the wide-eyed naivety of a 13-year-old and the awkward missteps of adulthood with pitch-perfect charm. There are moments where the tanned, blonde Jenna feels a little more Margot Robbie as Barbie in the real world than Jennifer Garner in the original film, but then this is a musical about the tribulations of aspiring to be someone other than ourselves. She excels in delivering all the big dramatic tunes while also bringing a delicate sensitivity to the more low-key numbers.

David Hunter as Matt is the emotional anchor of the production, and the undoubted chemistry between the two leads is palpable. Their duet in act two is as swoony as any rom-com finale deserves.

The young Jenna and Matt are played on press night by Amelia Minto and Max Bispham, who both excel and appear throughout the production, often on stage with their older selves, which works really well in this production.

The other supporting roles sparkle too, with a wickedly comic turn by Grace Mouat as ruthless mean-girl bestie turned magazine mogul and a deliciously slick, urbane Caleb Roberts as Richard. This production has a huge cast and delivers a rounded but fresh take on the original movie.

The score by Alan Zachery and Michael Weiner is a sugar rush of catchy tunes, balancing pop and power ballads with the big ubiquitous “Thriller” moment, immortalised in the film. Add to this slick choreography, endless costume changes and a set that frequently transforms with all the magic of fairy dust, and you have a winning combination.

At the heart of it all, though, is a surprisingly tender message: that sometimes growing older doesn’t mean losing your sparkle, and that friendship and authenticity outshine all the glamour and fakery in the world. By the finale, the Opera House was buzzing like a sleepover on too much fizzy pop and sweets, with the audience clapping, cheering, and whooping as if they too had just discovered the magic of being “thirty, flirty, and thriving.”

13 Going On 30 knows it’s a frosted cupcake of a musical, and it leans all the way in. It’s big, it’s bright, and it’s gloriously over the top.