Disney’s Freaky Friday musical at HOME Manchester – review

If there’s one universal truth about body-swap stories, it’s that they work best when delivered at a lively sprint. Luckily, Freaky Friday at HOME in Manchester charges out of the gate with the manic energy of a parent trying to get a teenager out the door on time for school.

This new staging is adapted from the beloved 1972 classic Disney tale of mother-daughter body-swap mayhem. It is a buoyant, slightly frantic, and ultimately heartfelt romp which leans gleefully into chaos while still slipping in moments of genuine emotional clarity. 

The premise remains as dependable as ever, with harried mum Katherine and her perpetually eye-rolling teenage daughter Ellie swapping bodies after a magical mishap, unleashing a day of catastrophes and revelations. What could easily feel stale instead lands with a surprising freshness, largely thanks to two hugely committed central performances.

Rebecca Lock delivers excellent vocals as Katherine, who finds herself spending 24 hours in Ellie’s body. However, she risks over-milking every mortifying moment of teenage angst by, on occasion, veering into a caricature of her daughter. Jena Pandya as Ellie, experiencing what it is to be her mum, delivers a sharply observed portrait of a girl who suddenly sees what being responsible actually involves and that impulsive actions can have perilous consequences. 

Director Andy Fickman keeps the action brisk and cartoon-bright, staging the set-pieces with a similar approach to his work on Heathers the Musical. Scenes tumble into one another with the kind of kinetic logic only body-swap comedy can justify. The pace is frenetic and high-energy, and the catchy musical numbers come thick and fast.

The design team embrace a playful scrapbook aesthetic with chalkboard backdrops, spinning lockers, and neon props that are poppy and preppy. It’s fun and cheerfully messy like an adolescent’s bedroom.

Where the production wobbles is in the tone. For every high point, there is a sentimental beat that feels slightly undercooked. The emotional centre of a mother and daughter finally hearing each other does land, but only after wading through a few scenes that push too hard on the moral. The musical numbers are spirited but sometimes forgettable, serving more as narrative bridges than big show-stoppers. 

Still, the performers commit so wholeheartedly that even the weaker material zips by with charm. The two leads share the kind of comedic chemistry that makes the whole conceit genuinely plausible. There is a natural charm to the second act as they start to see each other with fresh eyes. Ian Virgo delivers some lovely vocals as fiancé Mike, and Max Mirza is excellent as Adam. He really shines as the school heartthrob, especially in his scenes with Ghaith Saleh, who plays Fletcher with real assurance.

By the time order is restored, perhaps less magically than emotionally, the show definitely earns its warm and cosy conclusion. It may not be flawless, but it’s undoubtedly fun: bright, brisk, and buoyed by performances that radiate joy and enthusiasm.