The West End has fully embraced the movie-to-musical pipeline, with Mean Girls, The Devil Wears Prada and Back to the Future currently leading the charge; and honestly… it’s not a terrible thing. They sell adequately well, leaning into a familiar nostalgia which appeals to the masses. When handled well, these adaptations breathe new life into fan-favourite films making for both an evening of nostalgic theatrical fun, as well as (more often than not) great commercial success. Was Clueless all that and a bag of chips? I’m not too sure…

For those unfamiliar, Clueless is a modern reimagining of Jane Austen’s Emma, centering on seventeen-year-old Cher Horowitz—a privileged, self-absorbed student who thrives on admiration from those around her. As she navigates friendship, romance, and the hard truth that ditsy charm can’t solve everything, she embarks on a misguided quest for self-improvement. Her project? Transforming new girl Tai into the perfect socialite. But when her efforts backfire, Cher is forced to confront her own shortcomings. In a moment of self-realization, she not only redeems herself but also discovers the love that had been right in front of her all along.

This iteration is not entirely new. Adapted from the 1995 film, there exists a 2018 Off-Broadway jukebox adaptation written by Amy Heckerling – fittingly the very same writer who gave us the beloved film. It is Heckerling who has yet again penned another rendition of the same story, giving us the current West End reimagining, with a familiar book, but an entirely new score (KT Tunstall and Glenn Slater).

Act One opens with Perfect, a number that almost lives up to its name, instantly drawing us into Cher’s world. The grandeur of the set—most notably, the lavishly expansive wardrobe—paired with the song’s whimsical melody and the cleverly executed pajama-to-yellow-plaid costume reveal, made for an electrifying start. In those first moments, I was utterly captivated, brimming with anticipation for the afternoon ahead. Yet, this initial high proved deceptive. As the act unfolded, the energy faltered, and what began as a dazzling introduction soon struggled to find its footing, leaving Act One grasping for the same level of engagement it had so effortlessly promised.

My biggest qualm with the show is its lack of clarity—it feels frequently confused, as though it doesn’t quite understand itself. Such confusion extended to me as an audience member; I struggled to grasp it’s goal. Like Mean Girls, Clueless is a story rooted in moral redemption, yet it failed to establish any real sense of moral imperfection. Cher never felt misguided enough to require growth—rather than being flawed, she appears a mere product of her environment, her well-meaning but superficial worldview shaped by those around her. Her actions, rather than stemming from genuine self-interest or arrogance, feel like misdirected attempts at goodness, making it difficult to see her as the antagonist of her own story. As a result, the moral missteps in Act One feel contrived, lacking weight or consequence. Without a clear moral conflict, her redemption arc thus falls flat, leaving the show muddled in its own intentions.

Such confusion further extends to the set design (Mikiko Suzuki MacAdams). While Cher’s bedroom is undeniably spectacular – and a true highlight – the rest of the staging feels incomplete, rushed and at times, disappointingly amateur; it is almost as if the budget has been thrown at the opening number at the expense of the rest of the show. Nowhere is this more apparent than in the school scenes, which fail to capture any real sense of a functioning high school. With a lack of real bustle, and no structured environment in which to ground the world authentically. Instead, the small Trafalgar stage feels strangely static, with students who are confusingly cliquish yet inexplicably unified, ultimately making for a depiction of school life that ceases to be fully realised.

​Despite the production’s shortcomings, the cast of Clueless: The Musical are the glue holding this show together, delivering impeccable performances that breathe life into the material and uncover its latent potential. Emma Flynn shines as Cher Horowitz, perfectly capturing the character’s charm, truly bringing the film to life. Her vocals are impressive, and her subtle mannerisms enhance the comedic nature of her role.

Keelan McAuley’s portrayal of Josh is a standout performance, approaching the role with a simultaneous intellectual grit – conveyed in his number Reasonable Doubts – and approachable warmth. The success of the romance of this story is predicated on the palpable chemistry between Josh and Cher – such chemistry blatant here, and signposted throughout by McAuley’s take on Josh’s overprotective nature. His performance was truly commendable, and reason enough to go and see Clueless!

Chyna-Rose Frederick, as Dionne, delivers a spirited performance, embodying the character’s confidence and loyalty with flair. Romona Lewis-Malley makes a notable professional stage debut as Tai, effectively capturing her transformation from an awkward newcomer to a self-assured individual. The supporting cast, including Rabi Kondé as Murray, Isaac J Lewis as Christian, and Blake Jordan as Travis, each contribute to the show’s dynamic energy. Their portrayals add layers to the narrative, ensuring that the ensemble scenes are vibrant and engaging. The synergy among the cast members is evident, as they navigate the script’s nuances and elevate the production beyond its structural limitations.

Clueless, The Musical serves as a reminder that not every beloved story is suited for the stage. While the cast are phenomenal, the production itself – whether for lack of budget, or time – struggles to justify its theatrical adaptation on such a grand scale. I foresee success in the possibility of a tour, but this iteration in town does not seem to be all that and a bag of chips.

Clueless, The Musical is currently running at the Trafalgar Theatre and is booking until September 27th, 2025. Get your tickets here.

Photos by Pamela Raith.