Based on the 1995 film, Clueless: The Musical has just sashayed its way into the West End, in a blur of yellow nostalgia. The movie, starring Alicia Silverstone and based on Jane Austen’s Emma, has something of a cult following and holds a special place in the hearts of so many of us. The musical version features a score written by Ivor Novello winner and Grammy nominee KT Tunstall, with lyrics by Glenn Slater, so it’s an understatement to say that it’s been highly anticipated. I put it on my ‘must not miss’ list about a year ago.

The story of Cher, the daughter of a rich Beverly Hills lawyer, follows her matchmaking misadventures at high school as she takes Tai, the new girl, under her ‘popular girl’ wing and tries to help her hook up with whomever Cher deems worthy. Does everything go as planned? Well, what fun would that be?! Oh, and she has a stepbrother who isn’t really a stepbrother anymore because the parents are divorced – and he definitely doesn’t have the hots for Cher…

In the lead role, filling Alicia Silverstone’s Jimmy Choos, is Emma Flynn, an American actress making her West End debut. Although the opening song – Perfect – didn’t quite give me goosebumps, it’s upbeat and a fun way to start. Emma’s voice impresses right from the outset, even if the song itself didn’t fully ignite my usual excitement for a new musical. That said, don’t stop reading just yet – it was mostly uphill from there!

We meet Dionne, played by Chyna-Rose Frederick, Cher’s bestie and fashion twin. Like so many Black best friend characters written in the ’90s, she’s a bit two-dimensional and mostly there to support Cher in everything she does. I wish the show had given her more to work with, but Chyna-Rose plays the role with real flair. And yes, it has to be said – the West End still has a long way to go when it comes to giving Black women meatier, more complex roles. A dancer of mixed heritage from another show recently told me how much harder it is for people of colour with darker skin to get the same opportunities. Being mixed, she has lighter skin, and was speaking about a friend – an incredibly talented performer – who keeps being passed over. It’s 2025 – British theatre needs to do better.

Dionne’s boyfriend Murray, played by Rabi Kondé, has great energy and slick moves, and their onstage chemistry is enjoyable. However, I found it challenging to understand him at times, missing more lines than I’d have liked.

Tai, the unfortunate girl that Cher decides to “fix,” is played by Romona Lewis-Malley. She comes in with a thick Brooklyn accent – think Fran Drescher in The Nanny – but you get used to it quickly. Romona’s take on Tai is big-hearted and chaotic, and she wins you over almost immediately.

Cher’s love interest and ex-stepbrother Josh, played by Keelan McAuley, steals a lot of the show. His standout songs include Human Barbies-a fun number where he critiques Cher’s meddling (a little harshly imo)-and Reasonable Doubts, a genius boyband-meets-lawschool parody featuring law students hilariously rapping legalese like “he’s gonna habeas her corpus.“

The show’s visual design feels like a loving throwback to ’90s television. The LA beach backdrop looks like an old-school matte painting – not as extravagant as some West End sets, but undeniably beautiful. There are also some very clever moments with three set pieces that transform into cars, and I won’t spoil how, but it’s cleverly done. Big shoutout to the set designer, Mikiko Suzuki MacAdams, for finding that balance between nostalgic fun and functional magic.

And the costumes by Palma Young deserve equal applause. Obviously very on point for the ’90s – there are some fabulous pieces in there. Dionne’s outfit in the opening scenes, especially the red hat, is one of my favourites, and there is a two-tone tartan coat of Cher’s that is just gorgeous. The costumes throughout are colourful, fun, and really add to the atmosphere and character. It feels like the costume designer has real love for the period – not parodying it, but celebrating it.

One lovely little touch that stands out: in a scene where Cher has to speak in front of the class, she casually removes her gum and holds it – and it’s exactly the same shade of yellow as her outfit. Totally unnecessary, but totally brilliant. That kind of detail says a lot about the attention behind the scenes.

Choreography by Lizzi Gee is sharp throughout – especially during the two big dance moments. The first, set at a house party to the number Party in the Val, felt more like watching other people have fun than being pulled into the party yourself. But the second, during a swing-dance date, is pure delight. It’s the kind of thing you’d never expect teens in ’90s LA to be able to pull off, but who cares? It’s a musical!

One cast member who deserves special mention is Imelda Warren-Green. She plays multiple roles – Miss Geist, the maid, Heather – Josh’s short lived girlfriend – and every time she’s on stage, she’s a scene-stealer. I first saw her in Kathy and Stella Solve a Murder and she blew me away there too. She’s a brilliant character actor with fabulous comic timing and a wonderfully expressive face. Honestly, she felt underused here. I wanted more!

Then there’s Christian, played by Isaac J Lewis, Cher’s crush who, spoiler alert, turns out to be gay. It’s meant to be a reveal, but the moment he walks on, it’s already pretty clear. They could have played that moment for more surprise and it would’ve had more payoff. Long’s Christian dresses and speaks like someone who’s been binge-watching Guys and Dolls every weekend and thinks this is exactly how straight guys act-it’s funny, charming, but just a bit too obvious. His dancing is on point though, and he brings a fabulous, flouncy energy to every scene he’s in.

The music overall is fun, but not always memorable. I had a great time, but unlike Mean Girls – another cult movie adaptation, playing just up the road, that has a lot of the same themes, I didn’t leave humming half the soundtrack. With KT Tunstall’s music and Glenn Slater’s lyrics, I expected a few more earworms. There are certainly highlights – the aforementioned Reasonable Doubts – but not every song sticks.

That said, the show takes a real turn for the better in the final third. As Cher begins to look inward and realise that maybe – just maybe – she doesn’t have it all figured out, a new side of her emerges. Emma Flynn really shines here, revealing a vulnerability and emotional depth that had been mostly absent in the earlier scenes. Her growing feelings for Josh come with an honesty that moved me, and those later scenes showed just how fantastic she can be. It was subtle, genuine, and gave the whole production a much-needed sense of heart. It’s just a shame that this wasn’t consistent throughout.

I know I’ve missed out some great performances – this was a large, lively cast and there’s only so much space. But I do want to mention Blake Jordan as Travis, Tai’s (eventual) love interest. His performance was wonderfully exaggerated, totally leaning into the character’s stoner-chill vibe, and it felt very true to the movie. Also, a special shoutout to ensemble dancer Josh Latunji, his moves were fire. Every time he was dancing, my eyes were drawn to him.

Look, it may not be my favourite musical ever, but Emma Flynn is fantastic, and if you’re a fan of the original movie, Clueless: The Musical ticks all the boxes for a fun night out and a slice of colourful, camp nostalgia. Whether you’re a lifelong Clueless fan or just here for the vibes, it’s playing at the Trafalgar Theatre until 27th September 2025 – and it’s totally worth the trip!

For tickets for Clueless: The Musical ticks visit www.cluelessonstage.com

Words by Nick Barr

Photos by Pamela Raith