As a character, Adrian Mole is something of a relic. He
might be only 13¾, but he is absolutely a product of his time. His secret diary
was written by Sue Townsend and published in 1982, filled with Thatcherite
politics and British social satire. Thirty five years later, the novel has now
been adapted into a musical. But the question is: is it still relevant?
The themes at the heart of the novel are, of course,
universal. It follows a year in the life of Adrian, a precocious teen struggling
with the usual trials and tribulations of growing up, his relationship with his
parents, finding a girlfriend and measuring his privates (something the books
became known for but aren’t mentioned much here). The issue, though, is with
the presentation of this story.
The book and lyrics, from Jake Brunger, remain close to the
novel. That means it’s full of 80s references, from celebrities like Pebble
Mill and Princess Diana, to shops like Woolworths and C&A. Pippa Cleary’s
music has an old fashioned charm that feels warm and familiar, if not
particularly fresh. No matter how relatable Adrian may be as a character, the
musical and its references will likely fly way over the heads of most young
people who may visit the show.
If anything, this is a musical for an older generation who
read the books growing up and are now looking for a nostalgia fix. It’s a particularly
British narrative, with a royal wedding and nativity play on the positive side
and old fashioned misogynistic political views on the negative. Even the 80s
pop songs played during the interval slather on a thick layer of nostalgia.
Equally, though, the focus on young performers, a colourful set (Tom Rogers)
that resembles an oversized notepad and opens up like a toy box, and pop
choreography (Rebecca Howell) give the show a youthful family-friendly feel that
may not click with adults. Instead, this musical falls into an awkward middle
ground between young and old that doesn’t fully satisfy either group – the sort
of show your grandparents would take you to see for some dated yet wholesome
entertainment.
That’s not to say it isn’t enjoyable. There’s plenty of
charm here, from the young cast of performers (Rufus Kampa as Adrian deserves special
mention for leading the show), to the adults amusingly playing children, and
the overall cartoonish characterisation. The jokes are plentiful and the
direction is generally polished, even if this feels more suited to a touring
production than a West End destination. What’s most engaging is the subplot
relationship between Adrian’s parents, Pauline (Amy Ellen Richardson) and
George (Andrew Langtree). This is the emotional heart of the show, with
Richardson in particular giving an emotive vocal performance. Though, as a
thirtysomething, perhaps real adult problems are more appealing than
reminiscing about a youth spent with a ruler firmly in hand.
3/5
Watch: Adrian Mole: The Musical runs at the AmbassadorsTheatre until 28th September.
Photos: Pamela Raith
