Tickets were gifted in return for an honest review.
Emma Rice’s company has created something genuinely special: a warm, witty and gloriously nostalgic return to the world of boarding-school adventures. As the curtain rises on a train full of excitable girls embarking on their first term at school, audiences are immediately swept into a world of midnight feasts, dormitory mischief and spirited ‘jolly hockey sticks’. It is the kind of idyllic schooldays many may have dreamed of, even if few ever experienced them.
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| Photo by Steve Tanner. |
Judging by the audience demographic, much of the crowd had arrived seeking nostalgia, and the production delivers it in abundance. Alicia’s mischievous humour lands brilliantly with all generations, while several jokes prompted genuine belly laughs from older audience members. The ensemble cast is consistently strong, with each performer bringing vibrant energy and individuality to the stage. These familiar characters feel more heightened and exaggerated than perhaps remembered from Enid Blyton’s pages. Daryl Rivers (Robyn Sinclair) with her strong charisma and quickness to anger, brings about a misunderstanding between the girls and gets sent to Coventry - quite literally in tonight’s case, which obviously caused great amusement within the audience. Timid Mary-Lou (Eden Barrie) is well-meaning and we feel her anxiousness, willing her to grow in confidence and Gwendoline is certainly the mean, precocious child. A well-performed character by Rebecca Collingwood but it's pretty hard to find anything likeable about her.
What makes the production particularly effective is its pace and storytelling clarity. The focus remains firmly on the antics and emotional bonds of the dormitory girls, allowing the narrative to flow effortlessly. The lack of in-person adult characters ensures the focus of the story remains on the girls. Music is woven organically throughout the show, helped enormously by the decision for the musicians to be on stage as part of the action. Stephanie Hockley deserves enormous praise for simultaneously musical directing, playing piano and strings, remaining fully in character as Irene Dupont, and sustaining an impeccable French accent throughout. Alongside drums and violin, the trio creates an intimate acoustic sound that beautifully supports the ensemble’s rich harmonies. Ian Ross’s musical arrangements shine particularly during the a cappella moments, which are harmonically balanced and atmospheric.
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| Photo by Steve Tanner |
Technically, the production is equally accomplished. Simon Baker’s videography and Malcolm Rippeth’s lighting design maintain momentum and visual interest while allowing scene transitions to remain simple and unobtrusive. The emphasis is always on storytelling rather than spectacle. Special mention must also go to Lyndie Wright, whose puppet work introduces a perfectly judged burst of comedy during a pivotal scene.
There is always a risk when revisiting beloved childhood stories that nostalgia will overshadow the experience, or worse, that cherished memories will be diminished. Happily, this production avoids both pitfalls. Instead, it lovingly embraces the spirit of the original while subtly refreshing it for modern audiences. By the final curtain, the overwhelming feeling is one of comfort and joy. It is as though the audience has been wrapped in a warm blanket of nostalgia, carefully stitched together with contemporary wit and thought.
⭐⭐⭐⭐
Malory Towers runs at Coventry's Belgrade Theatre until Saturday 16th May 2026. For tickets visit https://www.belgrade.co.uk/events/malory-towers/
The show continues on tour booking until Sunday 2nd August 2026. For further details visit https://www.emmaricecompany.co.uk/productions/malory-towers
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| Molly Cheesley (Alicia Johns) and Robyn Sinclair (Darrell Rivers). Photo by Steve Tanner |
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