Since Brian Jackson was young, he’s dreamed of being on the famed quiz show University Challenge. Now eighteen and heading to university, that dream has never wavered, but now Brian must reconcile it amidst his studies, new and changing friendships, the heady glow of first love, and answering that age old question: who do I want to be?

Of course based on the bestselling novel by David Nicholls and the 2006 film adaptation, Starter For Ten enjoyed a triumphant run at the Bristol Old Vic last year, and has returned for another round: perfectly nostalgic, witty and brimming with charm. I confess at the time of writing this I have yet to read the novel or see the film, so I can’t comment on how successfully it adapts and captures the spirit of the source material, so instead I’d like to start with the sheer delight I took from this piece as someone who, for a multitude of logistical reasons, doesn’t get to experience new musical theatre as often as I’d like to.

 Hatty Carman and Tom Rasmussen’s music sparks with instantly recognisable 80’s influences which as a nineties kid who loves the music of that era I was utterly smitten with, and what makes it more of a clever stroke is that even with that frame of reference to anchor it, it still sounds very distinctively musical theatre; it’s a curious, refreshing kind of alchemy that imbues the entire piece with endearing warmth and personality. Lyrically too, ( the sheer gumption of the speed and wordplay is delightful, even though there were points where I found myself losing the clarity of the words and occasional punchlines.

The playful vibe and infectious energy are at their best showcased in Alexzandra Sarmiento’s choreography, which I understand (having not seen the production in its original iteration) has been reworked and renewed. It feels so slick and polished, and you can’t help but smile in awe of everyone’s stamina.

Lee Newby’s costumes capture the era and personalities beautifully, ably complemented by Zoe Spurr’s characterful lighting design.  The set design (also by Newby) is striking, full of moving parts to denote changes of place, and the linchpin of a chequered backdrop reminiscent of the classic 1980s University Challenge colour palette. Scene changes might feel cumbersome on occasion, but it’s very difficult not to be swept along by the relentlessness of it all.

Where the piece perhaps loses something in this all guns blazing approach, is in the book, by Emma Hall and director Charlie Parham. Joyful though any coming-of-age story is and arguably should be, I felt that it sometimes leans too heavily on that feel good factor. There’s a beautiful moment in Act II where Brian and his mum share a song reflecting on their grief that feels like it needs more time to breathe and land with greater impact. Similarly, there is a number between Rebecca & Dr Bowman that is a poignant and powerful meditation on the differing mindset between generations that passes by all too quickly. The absence of a song after the pivotal University Challenge appearance feels like a missed opportunity for a little more grit and depth as well, to help the piece feel more well-rounded. That being said, it’s always a pleasure as an audience member when you can sense so confidently that the cast are having fun with the material and playing off each other, even weaving in the show stop due to technical difficulties seamlessly into the narrative!

A uniformly strong cast across the board are led by Adam Bregman as Brian, charming and (nearly always) likeable in his drive to achieve his goal. Patrick Watts is brought to consistently scene stealing life by Will Jennings, and Christian Maynard makes a lasting impression despite his scant stage time as Brian’s childhood friend Spencer. Rightly or wrongly, I often feel like there’s a tendency that the female characters in musical theatre beyond the lead feel thinly drawn in comparison. Not so here, and what a joy that is: Asha Parker-Wallace gives Rebecca wonderful grit and tenacity, Miracle Chance is a force of nature as Lucy, and in her professional debut, Imogen Craig dazzles as Alice. The chemistry that Adam shares with both Asha and Imogen feels authentic to each of the relationships and the two emotional arcs, and that makes it easy to invest in their relationships despite the shades of inevitability.

The fun part is the consistent sense that even the smallest moments feel memorable, and every single member of the company contributes to that winning atmosphere, in a multitude of roles.

Stephen Ashfield is superb as Bamber Gascoigne; his comedic timing is as razor-sharp as his rapport with the audience, which he is able to cement in mere minutes of being onstage.

I was thrilled to see Mel Giedroyc in my second musical of hers once more flexing those comedic chops as Julia Bland, but amusing as she is there, for me it is her turn as Irene, Brian’s mum that truly struck a chord because it allowed her to show off another, unfamiliar facet to her acting.

To realise that it’s only been eighteen months between runs of the show was remarkable: the audience reaction was a delight. though I felt it a little rough around the edges, Starter For Ten boasts joy and wit aplenty. Should it come back for a third outing,  potentially with a little more conviction in its changes in tone, we could have a truly remarkable musical on our hands.

Starter For Ten runs at Bristol Old Vic until October 11, then heads to Birmingham Rep

Production Photography: Pamela Raith