The Lightning Thief: The Percy Jackson Musical review

It’s a hugely fun premise for a Buffy the Vampire Slayer-like exploration of the perils of growing up, in which metaphors become real and the nastiest grown-ups might literally be monsters. Tracz and Rokicki efficiently distil the novel’s own mythology into a musical that focuses heavily on the relatability of Percy’s parental abandonment issues. It’s also great to see the positive messaging that Percy’s ADHD and dyslexia are, in fact, evidence of his superpowers, survive the transition from page to stage.

While the summer camp-set first half lays out the story’s ground rules, with some worthwhile songs about the importance of found family, Gee’s production becomes more fun when Percy and his pals embark on their quest. Ryan Dawson Laight’s playful set design gels delightfully with Laura Cubitt’s inventive puppetry, Duncan McLean’s video projections and illusionist Richard Pinner’s visual tricks. A warmly tongue-in-cheek tone and a pacy, Scooby-Doo-like vibe make a virtue of the show’s necessarily modest budget.

As the show leaves behind its High School Zeus-ical territory, it also produces a more memorable, genre-diverse playlist. This helps free up a likeable Harwood to break out of the angst and bring a lighter, sparkier tone to his shrug-shouldered teenage dirtbag Percy. Folan affectingly shades in his nerdy Grover with the quietly poignant The Tree on the Hill. And The Stage Debut Award-winner Lee brings real fire to the show’s best song, Annabeth’s anthemic My Grand Plan, about how hard girls have to work to be seen. Among the ensemble cast, Paisley Billings is a showstopper in roles ranging from Percy’s mortal mum, Sally, to snake-haired Medusa and a disco diva Charon, lift operator to Hades. Overall, it’s a heartfelt musical romp that joyously entwines modern-day myth and a story of self-acceptance.