Rosie: A New Musical at the Adelphi Theatre Review

Written by Phillip for Theatre and Tonic.

Disclaimer: Tickets were gifted in return for an honest review. All views are my own

---

After releasing a cast album in 2024, Rosie returned for a one-night-only semi-staged concert at the Adelphi Theatre in London’s glittering West End.

Rosie tells the remarkable true story of Rosie Boote, a young girl raised in a convent in Ireland who dreams of gracing the West End stage in Edwardian London. The musical follows her journey far beyond those early ambitions, touching on moments of scandal, romance, and heartbreak along the way. However, the narrative ultimately lacks the level of conflict needed to fully engage the audience. Rosie’s ascent toward her dreams appears relatively smooth, with many opportunities seeming to arrive with little resistance. While this may not reflect the complexities of Boote’s real life, condensing an entire lifetime into a two-hour musical inadvertently gives that impression. The piece might benefit from narrowing its focus—perhaps concentrating on Rosie’s transformation from convent girl to showgirl, or her later transition from performer to aristocrat. A more concentrated timeframe could allow the story’s emotional stakes to deepen and resonate more powerfully.

The music and lyrics by Chris Broom are pleasant, though somewhat uniform in tone. The score is dominated by ballads—many of them beautifully written and impeccably performed—but few linger in the memory after the curtain falls. The evening moves swiftly from one lyrical ballad to the next, punctuated only occasionally by brighter, music-hall-inspired ensemble numbers. While the songs are undeniably pretty, their sheer number and similarity create a sense of sameness. The book, unfortunately, proves similarly underpowered. Dialogue often functions merely as connective tissue between songs rather than as a vehicle for meaningful dramatic development. As a result, the storytelling feels static, with limited emotional progression.

Where the production truly shines is in its cast. This was an impressively star-studded lineup, and vocally the performances were consistently sublime. Most of the acting was strong, though there were occasional moments that felt somewhat stiff—likely a reflection of the material rather than the performers themselves. Sally Ann Triplett was a particular standout as the delightfully devious Lady Edith, commanding every moment she appeared onstage. Will Callanalso delivered a swoon-worthy performance as Geoffrey Taylour. That said, several talented performers were noticeably underused. Desmonda Cathabel and Connor Carson had some lovely moments but deserved far more stage time. Likewise, having both Helen Woolf and Dylan Wood appear only as featured ensemble felt like a missed opportunity given their considerable talents. Meanwhile, Lucy Thomas showcased a truly beautiful voice throughout the evening.

Ultimately, the show’s central weakness lies in its lack of dramatic tension and resolution. With so many events packed into two hours, very little is given the time to develop emotional weight or genuine suspense. Obstacles are overcome with surprising ease, leaving the audience with little sense of risk or investment in the characters’ journeys. What could have been a sweeping and explosive story instead feels somewhat muted. The music, while undeniably lovely, may function more effectively as a listening experience on an album than as the driving force of a full two-hour stage production.

There is, however, clear potential here. With further development and a more focused narrative approach, Rosie could evolve into something far more compelling. By concentrating on a specific chapter of Rosie Boote’s life and exploring the struggles within it, the creative team could unlock the emotional depth the story deserves and allow the production to truly come alive.

Rosie: A New Musical played at Adelphi Theatre on 17th March 2026.

★ ★