Review: MOOMINVALLEY IN NOVEMBER, Upstairs At The Gatehouse

Tove Jansson’s beloved final Moomin tale finds new life in Moominvalley in November, a tender and contemplative musical which opens Upstairs at the Gatehouse. Co-produced by Nummulite and Chromolume, this adaptation by Swedish-born composer Hans Jacob Hoeglund delicately explores themes of grief, belonging and quiet resilience, staying true to the author’s reflective tone and emotional depth.

The pace is intentionally unhurried, allowing the audience to settle into a world which feels both nostalgic and profoundly human. The set is visually textured, enveloping viewers in its quiet beauty and subtlety. Six characters, each drawn back to the empty Moominhouse, explore their reasons for return and what it means to rediscover connection.

Jane Quinnas brings Fillyjonk to life with careful understanding and controlled elegance, portraying a woman caught between order and a yearning for escape from the expectations of cleaning and 'mothering'. Her operatic vocal power elevates the musical’s most introspective moments.

Snufkin’s character is one of the most interesting on his return in need of remembering his musical lyrics having written an important tune and peppering the musical with his melody, played by Matthew Heywood, while The Hemulen played by Stuart Simons is approached in a gentler fashion, described as smelling of 'old paper and worry', but softening the character from moody and intolerant to concentration on creativity via developing a treehouse for Moominpapa, also invested in belonging to the group. 

Grandpa Grumble known for his love of gherkins and cinnamon biscuits and proud of his criticism of the trivial is played by Martin Callaghan, who approaches Grandpa Grumble to perfection with truly wonderful attention to detail and brilliantly recognisable grouchy characterisation, clever nuances and playful abandon. Callaghan has an enviable grip of the perfect light and shade required in characterisation, assured of his individual wants, needs and requirements. His heartbreaking approach to creating a relationship with the ancestor who 'lives' in the wardrobe, is both moving and poignant.

Abigail Yeo offers Mymble with joyful abandon, infusing the stage with light and vitality, displaying energy and much needed stability to the group.

Izzie Winters captivates as Toft, stealing the show as the young observer whose longing for family forms the show’s emotional core. Winters’ performance is particularly striking, revealing both vulnerability and strength through a remarkable vocal range. A glowing glass ball, helps Toft search for the Moomins, adding a magical visual touch, while a highlight comes in the form of unity at the family picnic scene in the kitchen, which feels both whimsical and heartwarming.

Hoeglund’s score is rich with nostalgia, echoing memories of adventure and loss. The melodies soothe and stir in equal measure, complemented by choreography which lifts the story’s more sombre tones into moments of shared joy.

Billed as appropriate for age 8 plus, the musical follows the text with note of no Moomin sightings throughout, except a short piece of shadow work. This is worth noting in case of disappointment. 

This is a musical which rewards patience, quietly blooming into something deeply humane and full of heart.