Birmingham Hippodrome – until 30th August 2026
Reviewed by Emma Millward
4****
What happens when you are caught between two worlds? That question lies at the heart of Sea Change, a brand-new musical making its debut in Birmingham. Written by Birmingham-based creatives Will Jackson and Elinor Peregrin for British Youth Music Theatre, the production combines folklore, live music and a talented young ensemble in a charming exploration of identity, community and the courage to embrace change.
Set in the coastal town of Blackwater Cove, the story centres on the Selkies who emerge from the sea during a rare Tidal Eclipse, giving them just one week to experience life on land. As the full moon approaches, they must decide whether to return to the sea or remain among the humans. Meanwhile, the residents of Blackwater Cove must confront their own long-held ideas about the mysterious seal-like creatures they have been taught to fear. At its heart, this is a story about outsiders and the assumptions we make about those who are different from ourselves. The parallels with modern society are clear without ever becoming heavy-handed.
Will Jackson’s direction makes particularly good use of the intimate Patrick Studio space. Lighting by Catja Hamilton often gives an otherworldly feel to scenes. Choreography by Eleanor Rattenbury makes effective use of such a large ensemble. Kritika Agarwal’s set and costume design doesn’t rely on elaborate scenery, allowing its young performers to create parts of the world around them. A beautiful shadow-puppet sequence behind a strategically placed cloth is a particular highlight. The same ingenuity is evident in the delightful portrayal of the donkeys, with two cast members working together to create each animal. Complete with seaside spade ears, a sandcastle bucket forming the mouth and a rope tail that swishes behind them, the effect is wonderfully simple and inventive.
With 36 young performers, it would be impossible to mention everybody individually, but each deserves recognition for the commitment and enthusiasm they bring to the production. Among the ensemble, some particularly catch the eye. Millie Whale is a delight as Mysterious Mags, the narrator with excellent comic timing who often remains at the back of the action yet somehow draws your attention whenever she appears. Ella McFetrich is a quieter presence among the louder townsfolk as Isla, the lonely daughter of the lighthouse’s owners, determined to fight for its future when plans are made to sell it.
Peregrin’s folk-inspired score is one of the production’s strongest elements. Nautical tunes and shanties under Sarah Morrison’s musical direction give the musical a distinctive identity, with a live onstage accompaniment of guitar, violin, accordion and percussion.
There are moments where Sea Change still feels like a new musical finding its feet, but that is also part of its appeal. While the show itself has been developed over the past year, the full creative, technical and pastoral team only came together with the complete young company two weeks ago to build the finished production. Given that remarkably short window, what the company has achieved is impressive, particularly how confidently such a large ensemble works together.
Sea Change feels like a production that has already established a strong identity and plenty of promise. With an appealing score, inventive staging and an enthusiastic young company, it is a welcome reminder of how exciting new musical theatre can be. Sea Change may still have room to grow, but this is an enchanting musical adventure with a bright future.