Review: ROSIE - A NEW MUSICAL, The Adelphi Theatre
Danny Kaan
Rosie – A New Musical tells the story of Rosie Boote, a young woman raised in an Irish convent who dreams of making it onto the West End stage. Following her journey into Edwardian London, the show explores ambition, love and the realities of stepping into a world far removed from the one she has always known.
The musical’s strongest asset is undoubtedly its singing. Lucy Thomas in the title role leads the show vocally, and her pairing with Will Callan as Geoffrey Taylour, Marquis of Headfort, works well. Their duet is particularly impressive, with beautifully blended harmonies that highlight their shared background on ‘The Voice Kids UK’. It is clear that musically, the performers are more than capable of delivering the material.
The songs themselves are well written and serve to move the story forward effectively, demonstrating the writer’s clear strength in musical composition. However, while strong individually, they lack the kind of standout, memorable numbers that might elevate the show to a larger-scale production. As a result, the piece feels more suited to touring than to a long West End run.
Where the production struggles more noticeably is in its storytelling. The narrative feels thin at times, with key moments and character developments glossed over rather than fully explored. Significant plot points — such as major life changes and decisions — are introduced and passed through very quickly, making it difficult to fully invest in the journey. Time shifts are particularly abrupt, with transitions from one stage of Rosie’s life to another happening with little clarity. This is an area that would likely benefit from a full staging, with more detailed set and costume design helping to establish changes in time and place.
The delivery of dialogue also feels uneven. While the musical elements are strong, spoken scenes do not always land as effectively, with lines occasionally feeling rushed or lacking impact. This is further highlighted by the absence of space for audience reaction after songs, meaning applause often overlaps with the next lines of dialogue. One notable exception is Madalena Alberto as Rosie’s mother, whose delivery feels more natural and grounded, helping to anchor those scenes.
There is a clear sense that this is an early work from the writer. While the musical elements show real promise and expertise, the structure and depth of the storytelling would benefit from further development. That said, the foundations are there, and the show has potential to grow with refinement.
Overall, Rosie – A New Musical shows clear promise, particularly in its music and vocal performances. While the story itself feels underdeveloped in its current form, it remains an interesting piece with potential to evolve further.
Beautiful voices, with a story still finding its feet.
*** Three Stars
Reviewed by Frances Tate
What do you think Besties?