Review: Malory Towers (The Arts Theatre, Cambridge)

Step Behind The Stage

Malory Towers

The Arts Theatre, Cambridge - 27/06/2026
Review by Alex King

Photo Credit: Steve Tanner

Given the wide variety of adaptations of Enid Blyton's many works, it is somewhat surprising that it took until 2019 for her famed series 'Malory Towers' to be adapted for the stage. The series, which focuses on the boarding school of the same name, was transformed into by the highly regarded Emma Rice. Crafting an original story while still retaining the iconic elements of the books, Rice and her team created a musical that blends nostalgia and modern-day reflections, resulting in a witty, heartfelt and powerful production. Malory Towers has been touring the UK once again and has just finished its most recent stop at the Arts Theatre Cambridge.

Taking place at the titular school in 1947, Malory Towers follows Darrell Rivers as she excitedly begins her first term, where she meets friends as well as enemies and gets up to all sorts of hijinks before culminating in the annual school play. Before any of that though, the play brings its first element of updating the work with a modern-day prologue. While it was surprising to hear K-Pop Demon Hunters as the show began, it works well to provide an initial reflection on current social environments before a knock on the head brings us into the dreamlike sequence that transports us to the post war setting and characters.

Set against beautiful backgrounds created by video designer Simon Baker that evoke a hand drawn aesthetic, occasionally utilising rotoscoped animation to fun effect, Malory Towers has a surprisingly playful direction throughout. Occasional breaks of the fourth wall add an engaging element to the production, whether that is each character getting a very clear nod when they first appear or a slight look at the audience after some of the jokes. What could have been a surface level adaptation takes on a life of its own through both the humorous direction and the fun choreography courtesy of Alistair David.

One of the most impressive elements of this adaptation is the incredibly poignant themes and ideas presented in this version of Malory Towers while still feeling grounded and feasible in the original setting. The strongest example in this production is in the characterisation of Bill. Originally a tomboyish girl who seemed to prefer boy's activities over more traditional girl activities, this production offers a deeper, perceivably trans perspective. Bill embraces their more masculine traits and seemingly relishes being referred to as the group's brother. While any potential change from source material can be seen as controversial, Emma Rice's script never makes it the most defining part of Bill's character, choosing instead to focus on their charm and kindness and leaving their possible transness open to audience interpretation. This example, alongside elements of mental health and feminism, is utilised expertly to create a modern piece of work set in a past time.

Photo Credit: Steve Tanner

Bringing the show to life is an exceptionally talented cast of eight performers whose fantastic chemistry with one another helps to elevate this to more than just a straightforward adaptation. Leading the group is Robyn Sinclair as Darrell Rivers, who serves as the audience surrogate as we explore the story. Alicia and Sally, played by Molly Cheesley and Bethany Wooding respectively, provide a strong backbone to the cast, with Cheesley delivering some terrifically silly jokes and Wooding acting as the moral compass of the group in a performance that balances firm and fair nicely. The latecomer to the group, the previously discussed Bill, is portrayed by Zoe West in a suave performance that still has a degree of dorkiness that keeps them endearing, particularly in their connection to their horse Thunder.

Acting as the catalyst for much of the story are Anna Soden's Gwendoline Lacey and Eden Barrie's Mary-Lou Atkinson. As Mary-Lou, Barrie delivers a sweet but naive performance that really encapsulates the character's initial feebleness, succeeding in garnering the required sympathy without ever letting her become too much of a doormat. But it is perhaps Anna Soden who is the standout amongst a very talented cast. Her turn as Gwen is as cruel as it is funny and as catty as it is touching. Soden's humorous desperate plea not to be sent to school fools any unfamiliar audience members into thinking she is simply the spoilt rich kid getting a culture shock, but soon enough we see her true colours in a shift that Soden portrays excellently. Anyone familiar with the books will know what Gwendoline is capable of, and the malice and intelligence with which Soden portrays her is excellent in making her despicable. It is perhaps in the second act where she gets the biggest chance to shine. Her solo number Daddy's Little Girl showcases not just her singing talent but her comedic ability as a performer, as she prances about the stage in her own Titania costume. As she progresses and unravels though, the emotional climax of the show explodes, with Soden delivering a fantastic performance of a tragically desperate girl and the emotional toll she has been under unbeknownst to the other characters. The subtle expressions in her performance are what take her from comedic villain to a deeply interesting character.

Further elevating the already high talent of the cast is that they also take on musical responsibilities, with various members of the company picking up instruments during the songs. The majority of this was achieved by Stephanie Hockley, who in addition to portraying the distant-minded Irene Dupont also served as Musical Director for the production. While her talent is undeniable as a musician, her performance also leads to some wonderfully funny moments, such as Irene being unable to help her friends as she was playing ze piano. Hockley's piano ability was effortless and she was supported by Zoe West, Eden Barrie and Emily Panes, who also serves as the production's understudy. With a combination of classic wartime songs, traditional numbers and original compositions by Ian Ross, the production feels varied in its musicality, resulting in an incredibly pleasant collection of numbers executed brilliantly with tight harmonies as well as several great solo performances.

Enid Blyton's work is undeniably legendary and her catalogue of work is compelling. While Malory Towers has its fans and a deserved reputation, it has always sat just below behemoths such as Noddy and the Famous Five, which after seeing this musical adaptation seems unfair. This production is about more than girl power. It is a story about friendship, coming of age and about purpose in both our own lives and those of others. The biggest compliment I can give this musical is how accessible it is. Seeing a professional production with a talented cast is a night worth going out for, but equally this could be a show performed by schools throughout the country. Malory Towers may be a traditional story about a school for girls, but this delightful reinvention is for people of all ages and is a surprising gem worth catching if you can.


Cast on the Night:

Eden Barrie - Mary-Lou Atkinson
Molly Cheesley - Alicia Johns
Stephanie Hockley - Irene Dupont & MD
Emily Panes - Musician
Robyn Sinclair - Darrell Rivers
Anna Soden - Gwendoline Lacey
Zoe West - Bill Robinson
Bethany Wooding - Sally Hope

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