Review by Daz Gale
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I know what you’re thinking – ANOTHER musical adaptation of a classic movie? AS IF we need another one of those. The West End is pretty cluttered with them admittedly with Back To The Future, Mean Girls and The Devil Wears Prada all a short walk away. The latest to arrive in an attempt to roll with the homies down the road is a new take on the 90’s classic Clueless. As one of my personal favourite movies, this is a show I have been looking forward to more than most. The question is would this show prove to be a total Betty or would it leave me totally buggin’?
Adapted from the 1995 movie, the musical adaptation of Clueless originally opened in 2018 as a jukebox musical but was completely reimagined with original music in a production that had a short try-out run in Bromley last year. A modern spin on Jane Austen’s Emma, it focuses on wealthy Beverley Hills teenager Cher Horowitz take on a project to give the new girl at school, Tai, a makeover and set her up with the most handsome boy in school. Though she is used to everything being perfect, things start to unravel thanks to a complicated relationship with her step-brother, the perfect man who might not be compatible for her after all and not everything going to plan.
Amy Heckerling, the original writer of the movie, has returned to pen the book for this new musical adaptation. Staying fairly faithful to the original movie though updating several lines and aspects where needed to reflect a change in times and the different medium, Clueless retains its 1990s theme with all of its distinct vocabulary and all of those iconic lines that I have been repeating for the best part of 30 years – not all the time, of course – just sporadically. Frequently funny and charming throughout, there was something so pleasant about seeing the story unfold in front of me on stage in a production that should thrill any lover of the original movie.
Things start to unravel slightly when the action deviates from the movie with a quality that dips and proves inconsistent throughout. It all gets off to a strong start with opening number ‘Perfect’, immersing you into Cher’s world in a sequence that really is perfect. Clueless then struggles to match the bar it set immediately with a wildly uneven Act One that struggles to identify itself. This is most apparent in an underwhelming number ‘Human Barbies and what I consider to be the low-point of the show by far - a big solo number for side-character Elton called ‘The Best’ that ironically enough is the worst number of the show. Derailing the show and making it lose momentum, it is in no way good enough in comparison to the highs we had already seen and makes the rest of the first act sluggish through its inclusion.
At the risk of being way harsh, thankfully, Act Two fares much better, steering itself into the right lane eventually in a far more consistent way that harks back to the heights seen in the opening sequence with the help of some big production numbers. The original score by singer-songwriter KT Tunstall fills Clueless with some outstanding musical numbers with lyrics courtesy of Glenn Slater. Some examples of this include the ridiculously catchy ‘She’s All That’ and the instantly familiar ‘New Girl’. Drawing inspiration from the 1990s, the music sounds as if it came from that decade with Act Two opener ‘Boom, Pow’ feeling like the long-lost cousin of Hanson’s ‘Mmmbop’ and the standout number of the entire show ‘Reasonable Doubts’ – the greatest *N Sync song they never recorded. This number, with its boyband aesthetic and incredible vocals thanks to Keelan McAuley proves to be the highlight of the entire show – a showstopper in every sense.
Speaking of Keelan, he proves to be one of the strongest performers in an impressive cast. Through his phenomenal vocal ability, moves and charm, he gives a well-rounded and impressive turn as Cher’s step—brother Josh, famously played by Paul Rudd in the movie. Though his performance thrills throughout, it is the masterclass of ‘Reasonable Doubts’ that showcases his sensational talents and gives the show its biggest high. Though we don’t see him until Act Two, Isaac J Lewis leaves a lasting impression as the cool and charismatic Christian in a performance that lights up the stage with his every appearance. Immediately following ‘Reasonable Doubts’, his lead turn in ‘I’m Keeping An Eye On You’ in a mesmerising club sequence.
Though she feels relatively underused in the story, Chyna-Rose Frederick delights in her turn as Dionne, becoming a memorable double act through fights with her partner, Murray, played by Rabi Konde. Romona Lewis-Malley perfectly channels the essence of Tai in her characterisation in a performance that felt closest to the movie version, while Imelda Warren-Green is a comic highlight in a variety of eccentric, larger-than-life characters including Miss Geist.
Cher Horowitz has become an iconic character since Clueless came out in 1995 – through her yellow plaid outfit and Cher’isms, she truly has become the second most famous Cher on the planet (with apologies to Lloyd) so it takes a mighty performer to fill her impossibly big shoes. Step forward Emma Flynn, who only struggles with those shoes in one deliberate scene involving ridiculously high heels. From the moment she appears on stage, she has the audience in the palm of her hands in a performance that pays homage to the original character while still managing to make it her own. Through vocals, acting, comedy and stage presence, Emma Flynn is an absolute star, delighting at every turn and always making the show that much better whenever she appears. Even when the quality of the material dips slightly, the same cannot be said for Flynn whose confident performance wows at every turn.
Rachel Kavanaugh directs the musical with style, fun and a much-needed bit of campness in a match made in heaven. She creates a fine balance on bringing the original story to life while attempting something new and a great sense of what will delight audiences – the use of props turning into cars proving an ingenious recurring gag. The performances are larger than life, thanks to some incredible choreography from Lizzi Gee while Paloma Young’s costume design provides a fresh take on the classic looks from the original movie, and Ben Cracknell’s lighting makes the whole thing look beautiful throughout.
Though the set design has some inspired moments, particularly in Cher’s bedroom, some other aspects don’t feel as strong as they should be, coming across overly simplistic and almost unfinished. It felt as if the show had been designed for a tour but plonked into Trafalgar Theatre first – while there is nothing wrong with touring productions, of course, Clueless could have benefited from a little bit more pizazz on stage at times. When it gets its right, as it does in the truly sensational club sequence 'I’m Keeping An Eye On You’, it shines.
Throughout Clueless, Cher sings about everything being perfect, leading her to struggle when everything proves not to be. She muddles her way through it to make do with an imperfect situation that is still enjoyable enough. This is a fair comparison to the musical – though it has its moments, it proves to be far from perfect. Uneven at times, it manages to pull itself back from a rocky and inconsistent first act to find its way through its imperfections, creating a wildly entertaining second act that ends the show on a high.
It may itself be clueless for what it wants to be at times but when it gets it right, it provides some of the best moments you will see in the West End at the moment. Is it the best movie musical you will see in the West End at the moment? Possibly not, but is it the worst? As if. There is plenty on offer here that will thrill musical theatre lovers, particularly anyone who loved Legally Blonde so take my advice and get a ticket to roll with your homies at the Trafalgar Theatre – just maybe avoid the freeway on the way there. 30 years after the movie came out, this musical adaptation is proof that some things never go out of style.
Clueless is playing at the Trafalgar Theatre. Tickets available here
Photos by Pamela Raith