Malory Towers: a deliciously inventive feast of theatre.
Well, Emma Rice has only gone and done it again… What a deliciously inventive, joy-soaked feast of theatre; one that reminds you, with absolute certainty, why live performance is such utter magic.
Malory Towers is warm, witty and wonderfully life-affirming…the kind of show that wraps you up in its charm and refuses to let go. I spent the entire evening grinning like a fool (and not even attempting to hide it).
Emma Rice first came onto my radar through her marvellous work with Kneehigh Theatre Company, where her signature blend of physical storytelling, music and mischief made every production feel like an event. Since founding her own company in 2017, she has continued to tour work across the UK that is unmistakably hers: playful, inventive and brimming with heart.
Malory Towers, originally touring in 2019, is a musical adaptation of the beloved school stories by Enid Blyton, and captures that same sense of youthful adventure and emotional sincerity.
For those unfamiliar, the story follows Darrell Rivers as she arrives at Malory Towers, a girls’ boarding school perched dramatically on the Cornish coast. Over the course of a term, we watch her navigate the intense, often turbulent world of friendships, rivalries, midnight feasts and personal growth. Alongside a wonderfully varied cast of classmates, each with their own quirks, insecurities, and ambitions, the girls form a tight-knit society, learning lessons about loyalty, honesty and what it really means to belong. There are moments of conflict (including a rather perilous cliffside escapade), but ultimately it is a story about growing up, finding your people and discovering your place in the world.
I had high hopes going into this show, and they weren’t just met – they were joyously surpassed. Every action, every line feels clever, slick and purposeful, as though not a single moment has been wasted. The comedy sparkles throughout, landing with precision, while the charm hums along underneath everything like a reassuring heartbeat. Yes, the story is heartwarming and, at times, a little corny, but honestly, isn’t that exactly what we need in the modern world? A bit of earnest joy, worn proudly on its sleeve.
The acting is, quite simply, fantastic across the board. There are no weak links here, no obvious “standout” because the entire ensemble operates at such a consistently high level. Stephanie Hockley is utterly charming as Irene Dupont, and the fact that she is also the musical director and onstage pianist throughout the show only adds to the sense of awe. Molly Cheesley delivers a constant stream of perfectly timed jokes, keeping the audience in fits of laughter, while Robyn Sinclair’s Darrell radiates energy, lighting up the stage with a wonderfully grounded central performance.
Truthfully, I could single out every cast member for praise; they each bring something distinct and delightful to the piece.
The music is another undeniable highlight. This isn’t a sung-through musical, but rather a production that uses song with intelligence and restraint, allowing it to support and elevate the storytelling rather than overwhelm it. The 1940s setting lends itself beautifully to swing-inspired numbers, complete with rich harmonies and toe-tapping rhythms. There’s no reliance on flashy lighting or glitter-drenched costumes; instead, the sheer skill of the performers and the infectious energy of the music carry the show effortlessly.
For a cast clearly in their twenties, their portrayal of 12-year-olds is entirely convincing; each character vividly drawn, distinct, and brimming with personality.
The theatrical ideas woven throughout the production are equally inspired. The use of puppetry for the swimming pool scene is gloriously inventive and genuinely hilarious, while the clever use of projections allows for a minimalist set that transforms seamlessly between locations. One particularly inspired choice is the portrayal of the headmistress as a silhouette, voiced by the wonderful Dame Sheila Hancock. It keeps the focus firmly on the girls and the vibrant, self-contained world they create for themselves. My favourite moment, without question, is the start of Act Two, where we return from a literal cliffhanger to find the girls dangling from a cliff in a brilliantly unexpected and hilarious fashion (no spoilers—but it’s a triumph).
Of course, part of the show’s magic lies in Enid Blyton’s original world, and it’s clear that great care has been taken to honour it. The adaptation remains largely faithful, preserving the spirit and heart of the books. The main departure comes in the framing device: the opening and closing are set in a modern-day school, presenting the story as a play within a play. I found this concept engaging, as it cleverly bridges past and present, highlighting how themes of friendship, loyalty and identity remain universal and timeless.
The final resolution, particularly the transformation of the mean girl, perhaps feels a little too swift to be entirely convincing, but I appreciated the attempt to connect with contemporary audiences, especially given how Blyton’s work can sometimes feel dated to modern sensibilities.
Without a doubt, this is one of my favourite shows. It is utterly heartwarming in its portrayal of youth, innocence, naivety and the often-complicated terrain of girls’ friendships. Perhaps I am biased, having once been a 12-year-old girl myself, now raising a daughter, and carrying a lifelong fondness for both Enid Blyton and Emma Rice’s work, but bias aside, there is no denying that this is an outstanding production and a thoroughly joyful evening at the theatre.
If you’re in the mood to reminisce about your youth, or if you have a daughter who loves theatre, this show will charm you completely. I don’t say this lightly, but if I were around this weekend, I would book to go again without hesitation. It really is that deliciously fantastic.
leedsplayhouse.org.uk/events/malory-towers/
Main image: Eden Barrie (Mary Lou Atkinson), Bethany Wooding (Sally Hope), Robyn Sinclair (Darrell Rivers), Rebecca Collingwood (Gwendoline Lacey) and Milly Cheedsley (Alicia Johns).
All photography by Steve Tanner.
