13 JR

13 JR the musical is about growing up, navigating friendships, and discovering who you are when the world around you suddenly changes. It follows Evan Goldman as he moves from New York to Indiana just before his Bar Mitzvah, and the story unfolds through the complicated social dynamics of middle school, where popularity, loyalty, and identity collide in ways that feel both hilarious and painfully real. Perform Studios captured this spirit with vibrancy, teamwork, and a clear understanding of the show’s youthful heart.

Entering the auditorium, we were greeted with a fantastic pre‑set: a raised rostrum and platform, coloured blocks arranged with intention, and LED lights glowing beneath the structure. This already created a dynamic visual landscape, but what elevated it further was the pre‑show staging. Performers entered the theatre space sporadically, drifting into the world of the musical before the first note was even sung. Gradually, this gave way to a fully realised environment that felt like a school hallway coming to life, a place where friendships are made, broken, and rebuilt. It was a clever, atmospheric way to draw the audience in.

What I particularly admired was the characterisation within this pre‑set. Each performer arrived with purpose, already embodying their character’s energy, attitude, and social status. It completely drew the audience into the story of Evan’s new life, allowing us to observe the dynamics of the group before the plot even began. This is the kind of directorial detail that shows real understanding of how to build a world.

Opening the production was the musical number Thirteen, sung and performed by Evan and the ensemble, and it was an outstanding opener. The energy levels were sky‑high, the choreography crisp, and the clarity of action within the movement was wonderful to watch because every formation change felt intentional, every gesture supported the storytelling, and the ensemble worked as a unified force. It was the kind of opening that tells an audience they are in for something special, and it set the tone for the rest of the production.

What I thoroughly enjoyed about this musical by Perform Studios was how they worked together as a company. There was a genuine sense of teamwork, supporting each other, moving in unison, listening to each other’s vocals to achieve tight harmonies, and shaping the musical numbers with care. Ensemble pieces such as Brand New You and A Little More Homework rely heavily on cohesion, and Perform Studios delivered this beautifully.

Harper Newton, playing Patrice, had a stunning tone to her voice. I completely admired her vocal control throughout the show; every phrase was shaped with care, and her emotional connection to the material was clear. Patrice is a character who requires sincerity, vulnerability, and strength, and Harper sustained her character consistently. You were simply drawn to her performance, and Harper, you have a wonderful future in theatre. Lexi Todman Gilbody, playing Brooke, sustained that brilliant attitude the character demands. Brooke is confident, popular, and effortlessly cool, and Lexi commanded the stage through her body language and posture. Her interactions with the other characters were sharp and well‑timed, and she handled Brooke’s comedic moments with flair.

Faith Singleton as Lucy was brilliant at capturing Lucy’s manipulative charm and comedic bite, delivering her lines with confidence and excellent timing. Poppy Styles as Kourtney was excellent, bringing warmth and humour to the role, with reactions and facial expressions that added texture to every scene she was in.

The way Aleena Hansraj played Kendra was fantastic; she captured Kendra’s sweetness and optimism beautifully, and her interactions with Brett and the girls were natural and well‑paced. Ruby O’Neill, playing Christina, brought charm and presence to her role, contributing strongly to the ensemble storytelling and ensuring her character always felt purposeful.

Carey Broomfield, playing Evan, had excellent stage presence and wonderful control of dialogue. Evan is a demanding role, driving the story and carrying emotional weight, and Carey handled this with confidence. He has a strong instinct for how to change pitch and tone in his voice to fully envelop the story, Carey is another performer to watch in the future.

Jack Johnson as Archie was incredibly clever with comedy and timing. Archie’s humour relies on precision, and Jack delivered this with ease. His interactions on stage were natural, and his ability to balance comedy with sincerity made his performance memorable. Lincoln Forster as Brett played the ever‑brilliant teenage heartthrob with confidence, capturing Brett’s charm, swagger, and occasional cluelessness. His vocals in Hey Kendra were strong and well‑delivered.

The lads Mason Royall, Charlie Price, and Leo Branskey definitely deserve a mention; they had great vocals at times, and the way they entertained the audience with their comedic moments was excellent. Their ensemble work added energy and humour to the production.

There are so many superstar performers in this musical that I have to say you all deserve that round of applause and congratulations. Every single performer contributed to the success of the show, and the ensemble numbers were consistently strong, vibrant, and full of life.

Special mention must go to Nicola Jay Crooks (director), Maisie Greaves (choreographer), and Dan Crooks (technical). You once again created a production and an opportunity for these young people to showcase their talent, creativity, and passion for theatre. The direction was thoughtful, the choreography exciting and well‑paced, and the technical elements, lighting, sound, staging, all supported the storytelling effectively.

Thank you once again for your kind invitation and hospitality, and I look forward to seeing you all again soon.

© NODA CIO. All rights reserved.