13: The Musical

Can there be any milestone in one’s life that is more bursting with uncertain potential - for either blissful highs or ghastly lows – than the onset of puberty?

13: The Musical takes us all back to that wild time, through the eyes of an American Jewish boy named Evan who is preparing to reach the titular age when he will experience his bar mitzvah, the entry into manhood – and who just happens to have recently moved with his family to a new town. Needing to find a friendship circle from scratch, Evan seems to click nicely with the quietly individualistic Patrice and the slightly overbearing Archie.

However, what our young hero truly covets is acceptance not from these misfits, but rather the popular crowd, which includes ‘golden couple’ Brett and Kendra (plus the fiercely jealous Lucy)…Will Evan prove himself man enough to choose long-term integrity over short-term popularity? (No spoilers!)

Ben Gray’s performance as Evan provides a solid anchor at the heart of 13, as well as a likeably ‘everyday’ protagonist who sustains our interest in him, even when (or sometimes especially when) we watch him struggle and fail to do the right thing. The character of Archie, a less-than-fully-able-bodied individual, is rather bravely written as being far from noble or saintly, but in fact prone to all the typical temptations and vices that most teenage boys – whether or not they require crutches to walk – find impossible to resist; Jayden Ayling leaves a most memorable impression playing this unusual-yet-relatable young man.

Maddie Nunn makes Lucy a powerfully sharp and brash character and could even dial back the broad characterisation that happens towards the end. Ethan Wright does a competent job in the role of Brett and could perhaps enhance the poised, unruffled cool that a character of his social status would likely project.

Laura Lines is well-cast and effective as Kendra, a girl so often the centre of the boys’ attentions, while Samantha Keough – paradoxically, perhaps - shines like a true star in the role of Patrice, someone who feels eternally invisible and passed-over. Her solo vocals are as impressive and assured as her characterisation is sympathetic and poignant; one keenly awaits Miss Keough’s future roles in musical theatre.

Jason Robert Brown’s score is a pleasingly varied and smart selection of tunes that pastiche a wide range of musical styles while managing to avoid piggybacking on the likes of, say, Grease.

Georgia Brass and Jemma Allen have skilfully choreographed for a fairly large cast on a less-than-gigantic stage, resulting in a performance space that bursts with sharp, well-plotted energy that still carries the appearance of credible and unpredictable spontaneity. Their efforts are aided and abetted by the vim and vigour of the band’s strong work, with musical arrangements/conducting by MDs Ben Francis and Mim Sarre.

The cast, on balance, generally cope well with both the musical and choreographic aspects to 13 – though there were some pitch problems on occasion. Matters of difficulty on the sonic level were exacerbated by the occasional feedback swell, while Logan Conway’s lighting design was effective and appropriate.

The script for 13 can get surprisingly edgy and daring for this kind of story – or perhaps it’s just the case that every tale about young teenagers seems edgy when placed next to the likes of High School Musical (which receives its own cleverly snarky reference in the dialogue). On the other hand, why should a reviewer be surprised when a show about this particular age group is so frequently rude and cheeky and un-P.C.? (Welcome to thirteen, people!)

Ultimately, Adelaide Theatre Academy have presented us with a production that, as directed by that multi-talented Matt Houston, brings a refreshingly quirky humour and idiosyncratic perspective to the unique emotions of early adolescence.

In short: nothing unlucky about this 13.

Anthony Vawser

Images: Treasured Memories Photography.