Review: MALORY TOWERS, Alexandra Palace Theatre

Emma Rice’s glorious adaptation of Enid Blyton’s Malory Towers returns to Alexandra Palace Theatre with all of the warmth, wit and wonder which made it such a beloved success. Bursting with infectious energy, exceptional musicianship and heartfelt storytelling, this uplifting production proves just as relevant today, as it is nostalgic, celebrates friendship, resilience and the strength of young women with remarkable charm.

The production opens with modern schoolgirls having a disagreement, whilst one girl advocates for the adventures of Darrell Rivers and the enduring legacy of camaraderie at Malory Towers. We are magically transported back to the Blyton world which bridges generations, and reminds audiences that the values at the heart of the story remain timeless. A vibrant jazz inspired number transports everyone from Paddington Station to the Cornish coast, setting the tone for an imaginative theatrical journey filled with excitement.

Robyn Sinclair delivers a captivating performance as Darrell Rivers, perfectly balancing youthful enthusiasm with emotional vulnerability. Darrell arrives at boarding school eager to embrace new experiences and find her place amongst her classmates, although her fiery temper repeatedly threatens to undermine her best intentions. Sinclair portrays this internal conflict with sincerity, particularly when Darrell describes the overwhelming feeling of a “red mist” and her determination to learn how to control emotional dysregulation. 

Alongside Sinclair is a superb ensemble of talented performers who each bring individuality and depth to their characters. Bethany Wooding is wonderfully compassionate as Sally Hope, whose own journey teaches her the dangers of judging others too quickly. Zoe West is delightfully spirited as the horse obsessed Bill Robinson, while Molly Cheesley provides entertainment as the mischievous Alicia Johns. Eden Barrie gives a touching performance as the timid Mary Lou Atkinson, whose quiet courage gradually emerges throughout the story, whilst Rebecca Collingwood is outstanding as the deeply misunderstood, volatile and often spiteful Gwendoline Lacey. Rather than portraying her as simply unpleasant, Collingwood reveals the vulnerability beneath her difficult behaviour, making the eventual revelations surrounding her family background genuinely affecting.

Stephanie Hockley is a particular standout as Irene DuPont. Not only is her comic timing superb, but her musical ability is extraordinary. Two stand out songs occur in Mary Lou’s moving performance of If I Were a Girl as she gently encourages Darrell to see life through her struggle as she admires her more confident perspective, and the beautifully performed Hush Now Sally is powerful, demonstrating the extraordinary vocal blend achieved by this exceptional company. Music is undoubtedly one of the production’s greatest strengths. The majority of the cast are accomplished musicians, creating rich harmonies which elevate every scene. Their glorious rendition of Mr Sandman is simply magnificent, whilst the live music throughout becomes an integral part of the storytelling rather than merely accompanying it.

Emma Rice demonstrates why she remains one of Britain’s most inventive directors. The production overflows with theatrical imagination reminiscent of the sheer wonder of genius of The Wild Bride. The cleverly staged train journey to Cornwall is wonderfully vibrant, whilst an ingenious puppet led swimming sequence captures childhood adventure with remarkable creativity. Every scene bursts with movement and playful theatricality, without ever losing sight of the emotional heart of the story.

The choreography is consistently dynamic and inventive, adding momentum throughout the performance. Particularly memorable is the determined march of Sally and Darrell carrying their lacrosse sticks as they prepare to confront Gwendoline, creating a striking image of solidarity. Equally thrilling is the dramatic cliff rescue sequence which injects tension into the second act, whilst reinforcing the importance of care, friendship and selflessness.

Running beneath the laughter and spectacle are meaningful themes which resonate strongly with contemporary audiences. Wisdom in the form of encouragement urges the girls to become “good sound women the world can lean on”, a message which remains both inspiring and empowering. The production explores loyalty, forgiveness, honesty and personal growth with remarkable sensitivity, reminding audiences that true strength often comes from understanding others and offering a listening ear, rather than condemning them.

The inclusion of the school’s production of A Midsummer Night’s Dream adds another delightful theatrical layer, whilst the famous declaration that the show must go on becomes a fitting reflection of the resilience shown by every character. Messaging of a sense of hope and optimism lands, as the girls discover their courage, compassion and friendship, where resilience will always triumph over fear and misunderstanding.

Emma Rice’s Malory Towers is a joyous celebration of growing up, finding your voice and discovering the people who become your chosen family. Filled with beautiful music, imaginative staging, heartfelt performances and a wonderful emphasis on empowerment. This magnificent production captures both the nostalgia of Enid Blyton’s beloved stories and their enduring relevance for modern audiences. It is a theatrical adventure full of heart, humour and humanity which deserves to be treasured by audiences of every generation.

Malory Towers runs at London’s Alexandra Palace Theatre until 2 August

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