REVIEW: 17 Again the Musical - Beenleigh Theatre Group

17 Again the Musical – Beenleigh Theatre Group

Presented by: Beenleigh Theatre Group

Director: Lachlan Dodd

Music Directors: Ruby Tate and Mark Mirhan

Choreographer: Meggie Ryder

Assistant Choreographer: Kaitlyn Burton

Stage Manager: Biance Riek

Lighting Design: Bryce Delany

Sound Design: Tom O'Driscoll

Set Design: Lachlan Dodd

Costume Design: Lachlan Dodd and Meggie Ryder

Photography: Creative Street and PIF Productions

I love when a guilty pleasure film of mine gets the full musical theatre treatment! When I first heard that 17 Again was being staged by Beenleigh Theatre Group as a musical, my immediate reaction was, “Wait… what?” And then immediately after that, “I need to see this!"

Based on the 2009 film 17 Again (the one with Zac Efron and Matthew Perry), the story follows Mike O’Donnell, a 35-year-old who is magically transformed back into his 17-year-old body. No time travel. No rewinding the clock. Just suddenly back in high school, which honestly sounds like a nightmare, while trying to repair the his neglectful relationships with his wife and children. Under the direction of Lachlan Dodd, with musical direction by Ruby Tate and Mark Mirhan and choreography by Meggie Ryder, the creative team transform the film’s fantastical premise into a fun, fast-moving and self-aware stage experience.

The set design is smart and theatrical without overcomplicating things. Three entryways give the stage dimension, one topped with a basketball hoop that becomes both scenic feature and storytelling device from the very first number, “The Star of Kennedy High.” Rolling lockers and a trophy cabinet allow for fluid transitions, while the painted stage establishes the production visually. It all feels cohesive and purpose-built rather than decorative. A few spotlights were off on the night I attended, but honestly it added to the amusement rather than distracting from it.

Greyson Vaughn as 17-year-old Mike, also known as Mark (excellent cover name), is a brilliant leading man. His physicality is uncannily precise. I would love to know how many times he watched the film in preparation because his mannerisms were spot on. He feels like a Zac Efron/Marty McFly hybrid, bounding around the stage with the chaotic enthusiasm of a true 35-year-old suddenly gifted teenage energy again. Vocally, he is strong and expressive, particularly in “Something So Perfect,” where real emotional sincerity shines through the comedic exterior.

Patrick Lockyer as 35-year-old Mike provides the emotional anchor. His performance in “Time for Starting,” while unapologetically demolishing a mudcake, is wryly funny and relatable. The marriage struggle sits honestly on him, and the relief in his final scenes feels truly earned rather than exaggerated. Michelle Randall brings warmth to Scarlett with “Love You Till Forever,” revealing lovely emotion that grounds the show’s romantic stakes.

Leah Erskine perfectly captures Maggie’s sulky teenage angst and mortifying embarrassment, and her duet with Greyson, “You Deserve the Best,” becomes a melting vocal moment, even with the script’s awkward unintended-crush undertones. “Gonna Show It to You,” alongside Lachlan Bretherton-Scobie as Stan, embraces its not-so-subtle-innuendo with total commitment, the humour landing just as confidently as their vocals. Wyatt Scrimgeour as Alex delivers my personal favourite solo of the show, “Losers Don’t Ever Win,” staged from a toilet stall and powered by serious vocal firepower as he wheels himself all around the stage.

Clayton Eltis as Ned Gold fully commits to the character’s theatrical dork energy, and I mean that as the highest compliment. His reaction to seeing Mike young again is completely justified and wonderfully over-the-top. In “Tra La La,” Clayton and Vanessa Chuah’s Principal Masterson strike a perfect balance between heightened absurdity and genuine sweetness, allowing their nerdy courtship to become one of the strongest comedic moments. Vanessa also commands the stage in “Matter of Principle,” delivering a soulful, powerful vocal performance that ranks among the strongest of the show. A special mention must go to Samantha Parker as the secretary. The lute moment had me crying with laughter for reasons I still cannot fully explain.

Hayley Morris as Chelsea exudes wholesome girl-next-door charm while still carrying the confident sparkle of a cheerleader, creating a character that feels both approachable and self-assured. The Brittanys, Hannah Elizabeth Grace, Olivia Van Grinsven and Sian Van Blerk, power through “#BrandNewDay” with tight three-part harmonies and fierce commitment. Mic balance in this number was noticeably loud though. The live band, Mark Mirhan, Ruby Tate, Mik Farnsworth-Sempf, Hayley Gravina, Sari Rangiwai and Dom Nicholson, are incredibly tight. Positioned at the rear of the stage, they bring fantastic energy, with drummer Dom Nicholson absolutely driving the Act One finale home: “The Greatest Prize.”

Meggie Ryder’s choreography sparkles in “Take a Shot,” basketballs and all, and in the salsa-infused “Make the Most of Tonight,” where Tanisha Clarke’s vocals fuel the intense, high-energy dance sequence. At times, the featured dancers appeared slightly cautious or restrained. The partner work is expansive and dynamic, and I would love to see them fully claim the stage space available to them. The ensemble of eight demonstrate some great character choices, giving group scenes texture and personality. Push it even further and it will truly sparkle. The impact of your collective energy on the overall picture is bigger than you think.

Under the direction of Lachlan Dodd, the show never tips into excess. It is camp, yes, and the script is on-the-nose, but the cast embrace it without irony. Greyson, Clayton, and the Brittanys in particular understand the heightened style: it never feels like they are mocking the material; they are celebrating it! I also love the smaller choices and subtle film nods sprinkled throughout; they did not go unnoticed! There are plenty of blink-and-you-miss-it moments, physical details, and background character beats that reward close attention and add so much texture to the overall picture.

Is the music the most unforgettable you will ever hear? Umm.. no. But is it fun? Absolutely! This production does not pretend to be high art. Instead, it embraces the absurdity of its premise while still honouring the emotional beats beneath the surface. It captures the fantastical heart of the story, balances comedy with genuine warmth, and sends the audience out smiling. For fans of the film, it is a nostalgic, high-energy night out. For everyone else, it is two hours of joy, basketballs and belting!

I recommend it wholeheartedly to anyone wanting a genuinely joyful night at the theatre.