There’s a strong opening number to this musical adaptation of the 1995 film that, loosely, resets Jane Austen’s Emma among wealthy Los Angeles teens. The idea that the show’s heroine, Cher, has a perfect life makes for a strong motif we can have fun exploring. If the rest of the songs are not as good, the show overall is a respectable affair that deserves credit.
It’s a shame for Clueless that the screen-to-stage musical feels a little played out. That’s not the fault of director Rachel Kavanaugh, who keeps the action going nicely, nor the talent on stage. But as Mean Girls and Back to the Future are still running, and memories of Heathers and Cruel Intentions are fresh, there’s just been too much cashing in on Gen X nostalgia.
Here, KT Tunstall and Glenn Slater have written music and lyrics, and both are better than some examples of the genre. All the numbers are competent and several are strong. If they don’t add up to a satisfying musical theatre score (this is Tunstall’s first go), there is nothing objectionable. But it’s a shame there are few chances for the ensemble to sing together, as the score is a collection of solos and duets. Clever nods to the late 1990s could have been leaned into more. But even an incongruous Lindy Hop number, which feels written for something else, is a good tune. Slater’s lyrics are consistently smart, if occasionally dense, and deal well with the plot. And hats off for rhyming porpoise with habeas corpus.
The show, and production, relies too heavily on the lead role of Cher. Emma Flynn, who takes the lead, is great: her voice is superb, her acting convincing, and it’s clear she has a very bright future. But she has too much to do. And it’s a problem because there are a lot of strong characters here who are poorly served. Cher’s friends, Dionne and Tai, fade into the background. Both Chyna-Rose Frederick and Romona Lewis-Malley seem to know it and don’t look very happy about it. Isaac J Lewis, who plays Christian, arrives much later in the action but establishes his character more forcefully. With two good songs, Keelan McAuley, who plays Cher’s love interest, is the luckiest and he shines as a result.
Mikiko Suzuki MacAdams provides a stylish set to perform in with neat solutions for all the cars that feature. It’s a shame that Lizzie Gee’s choreography feels tacked on; there are few extended numbers so most of the dancing looks like fillers for scene changes. This is easy to forgive, but the show’s biggest problem is a lack of humour. Given a rare funny scene of Cher struggling in her high heels, this isn’t Flynn’s fault – she has a feel for comedy. But the rest of the cast struggle to work out how funny they are supposed to be. And Amy Heckerling’s book (based on her own film) hasn’t been updated or changed for the stage enough. There’s a lot that hits the mark here, but even big fans will miss the laughs.
Booking until 28 March 2025
Photos by Pamela Raith
