13 Going on 30: The Musical is the latest screen-to-stage adaptation hoping to tap into the millennial nostalgia boom—and with its pop-culture legacy, it certainly comes with built-in audience affection. The story, first popularised in the 2004 rom-com starring Jennifer Garner and Mark Ruffalo, follows 13-year-old Jenna Rink, a socially awkward teen desperate to grow up fast. After a humiliating birthday party, she makes a wish to be “thirty, flirty and thriving”—and wakes up as her 30-year-old self in the glittering world of New York fashion publishing. What follows is a fish-out-of-water comedy that explores missed opportunities, authentic friendship, and the painful clarity that sometimes comes with growing up too quickly.
The musical adaptation has been developed by the film’s original screenwriters, Josh Goldsmith and Cathy Yuspa, with music and lyrics by Alan Zachary and Michael Weiner (High School Musical: The Musical: The Series). With direction from Andy Fickman (Heathers), and choreography by Jennifer Weber (& Juliet), the show boasts an impressive creative team. On paper, this should be a glossy, high-energy commercial hit. Unfortunately, despite the pedigree and talent involved, the production does not always hit the mark.
The primary issue lies with the score. The songs are largely unmemorable—relying on repetition, simplistic rhymes, and generic pop stylings that fail to elevate or deepen the storytelling. There are too many of them, and almost every scene is accompanied by a musical number, regardless of whether it’s earned or narratively necessary. These numbers often feel like placeholders rather than story drivers—frequently halting the momentum rather than moving the plot forward. There’s a noticeable lack of variety, with many songs blurring into one another and few, if any, leaving a lasting emotional or melodic impression. One finds themselves longing for silence or spoken dialogue just to feel the story breathe.
That said, the cast works exceptionally hard to bring this thin material to life. Lucie Jones (Waitress, Les Misérables) is undeniably the show’s beating heart. As adult Jenna, she delivers a layered, likeable performance that balances naivety, humour, and moments of genuine reflection. Her vocals are consistently strong, soaring with clarity and control even in the less inspired musical numbers. Jones is entirely believable as a 13-year-old trapped in a grown woman’s body, and she manages to draw the audience in with charm, even when the writing doesn’t always support her.
Opposite her, David Hunter (Kinky Boots, Waitress) is a quietly compelling presence as Matt Flamhaff, Jenna’s childhood best friend and the show’s emotional anchor. He and Jones share real chemistry on stage—there’s a lived-in warmth to their scenes together, and when the script gives them space to connect, their bond is genuinely touching. Their duets, in particular, give rare glimpses into the emotional core of the piece.
Grace Mouat (SIX, & Juliet) impresses as Lucy Wyman, the adult version of Jenna’s childhood nemesis turned duplicitous best friend. She plays the role with sharp comic timing and commanding presence, relishing the chance to portray the slick, manipulative villain of the piece. Mouat brings charisma and confidence to every moment on stage, and is one of the show’s consistent highlights.
Elsewhere, the ensemble—including an impressively drilled children’s cast—works hard throughout. The young performers are a joy to watch, particularly Young Jenna (Amelia Minto) and Young Matt (Max Bispham), who open the show with energy, precision, and believability. Their scenes ground the show in real emotional stakes before the more farcical adult world takes over.
Visually, the production relies heavily on digital video screens to establish time, place, and mood. While effective in small doses, this reliance quickly becomes monotonous, especially on a stage as wide and open as the Opera House. The screens are supported by a handful of rolling set pieces brought on and off by the cast, including the children. While this may help with transitions, it begins to feel mechanical and exposes the sparseness of the set. There’s very little visual spectacle, and the stage often feels underdressed—lacking the kind of immersive world-building we expect from a major musical.
Choreographically, Jennifer Weber delivers a high-gloss, music-video style aesthetic. The ensemble (again, including the children) perform with tight precision and clear discipline, but the choreography rarely seems tied to character or narrative. Instead, it feels superimposed—more about vibe than meaning—and at times veers into the generic. In several numbers, particularly group sequences in the office or at parties, it feels as though the dancing is simply there to fill the space.
The book, while closely following the structure of the film, struggles to translate its emotional depth to the stage. The core themes—nostalgia, lost innocence, romantic regret—are present, but barely sketched. Characters are rendered as archetypes rather than rounded individuals, and the dialogue often skims the surface. There’s little space for introspection, and the few moments where the show tries to land a serious emotional beat are often swept away by yet another underwhelming song. Despite the efforts of the cast, it’s hard for the audience to truly feel for these characters. The result is a musical that entertains in patches but rarely resonates.
Ultimately, 13 Going on 30: The Musical feels like a missed opportunity. With such a strong central premise, a talented cast, and a nostalgic fanbase ready to be won over, it should have soared. But instead of crafting something theatrically rich or musically inventive, this production opts for a surface-level translation that over-relies on style and offers little substance.
Lucie Jones, David Hunter and Grace Mouat bring star quality and professionalism to the stage, and the children’s ensemble is outstanding—but they are let down by a show that never quite knows what it wants to be. Those expecting the heart, humour and poignancy of the original film may leave feeling disappointed.
It’s not without its charms—but unlike its heroine, 13 Going on 30 doesn’t quite grow into something special.
13 Going on 30 plays until 12th October 2025. Tickets available here.
Photography throughout from Pamela Raith.
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