It’s autumn in Moominvalley. Leaves are falling, rain has settled in. Six strangers arrive, each searching for something. Snufkin is looking for a melody. Fillyjonk longs for order. And Toft wants, more than anything, to meet the Moomins.
But the house is empty. The valley is quiet. The Moomins have gone.
Based on Tove Jansson’s final Moomin story, Moominvalley in November is a gentle, profound, and life-affirming meditation on grief, belonging, and quiet resilience.
A co-production between Nummulite and Chromolume—the in-house company at Upstairs at the Gatehouse behind In Clay, Road Show, and Tom Lehrer Is Teaching Math and Doesn’t Want to Talk to You—Moominvalley in November was shortlisted for Mercury Musical Development’s BEAM 2025 showcase.
Ahaed of the run at Upstairs at the Gatehouse we sat down with writer and composer Hans Jacob Hoeglund to learn more.
What can you tell me about Moominvalley in November?
It is a new musical, based on the last novel in the Moomin series by Tove Jansson, essentially her farewell to the Happy Moominvalley. It is a melancholic piece, and something of a dark comedy. Some of the material is challenging, so we recommend it for grown-ups and older kids (age 8 and above).
It is a new musical, based on the last novel in the Moomin series by Tove Jansson, essentially her farewell to the Happy Moominvalley. It is a melancholic piece, and something of a dark comedy. Some of the material is challenging, so we recommend it for grown-ups and older kids (age 8 and above).
What inspired you to want to adapt this piece?
I’d been going through some challenges in my own life, and I strongly related to Toft, who discovers that real life is hard, and different from what you dream about growing up. I don’t think Tove is saying that dreams are not important, quite the reverse, but you must also be able to see things as they really are.
How did you approach bringing your own style to something so beloved?
I just wrote it the way I believed it should sound like. You can’t stop and think about what others might think as you are writing, that paralyses you. Of course, it is a huge honour and privilege to be allowed to work with these characters. I pinch myself whenever Snufkin walks on stage! Doing a project like this really helps you appreciate the love that exists for these stories: I’ve seen it on all sides, from my collaborators, from the audience, from everyone involved! One thing I’ve learned from Tove is that you need to have integrity in your work. There is no point in doing something you don’t truly believe in.
What is the biggest challenge when adapting a book like this for the stage?
A novel is a completely different creature from a musical play – you have to take the entire thing apart and then put it back together again. For me personally, musical ideas come very easily. The challenging part is finding the right structure and working out the lyrics. Then of course, the stage production is a large and complex machine, involving many talented people working together.
The piece deals with themes such as grief, belonging and quiet resilience, how do you approach maintaining those feelings within the piece?
The grief is never stated explicitly – it’s all under the surface. Tove brilliantly makes you think, or even hope that the Moomins will come back. Without giving too much away, the ending is a bit different. All of the characters have their own journey – they are looking for a place, a family, for meaning – and it doesn’t quite work out for them. They grow, perhaps, but I’m not sure they fundamentally change it’s more about finding out who you really are and being comfortable with that.
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| The cast for Mooninvalley in November |
What can audiences expect to hear from the musical score?
I grew up in a musical family, and was exposed to lots of things: folk music, classical, jazz. We have a songwriter tradition in the Nordic countries that is not well known internationally, but it is very influential in my style. There’s a lot of folk influences, Finnish of course, but also Swedish, Romanian, Polish… There are bits of Mozart and Ravel in there. As for musical theatre writers that influenced me… Sondheim of course, Frank Loesser, Jerome Kern, Lynn Ahrens, Howard Ashman, Lucy Simon, Jeanine Tesori – among others!
I grew up in a musical family, and was exposed to lots of things: folk music, classical, jazz. We have a songwriter tradition in the Nordic countries that is not well known internationally, but it is very influential in my style. There’s a lot of folk influences, Finnish of course, but also Swedish, Romanian, Polish… There are bits of Mozart and Ravel in there. As for musical theatre writers that influenced me… Sondheim of course, Frank Loesser, Jerome Kern, Lynn Ahrens, Howard Ashman, Lucy Simon, Jeanine Tesori – among others!
What was the first piece of theatre you saw that had a big impact on you?
West Side Story. Mary Stuart by Schiller. I discovered many plays through reading: Pinter, Ibsen, Chekhov… The Cherry Orchard is one of my favourite plays of all time.
What keeps you inspired?
My wife Diana and my family who always support me. People who work hard and believe in what they do.
What would you hope someone takes away from seeing Moominvalley in November?
I hope they enjoy the show, and that it makes them think!
Where and when can audiences see the show?
Upstairs at the Gatehouse, 23 October-16 November! https://moominvalleymusical.com
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