The key to this musical is that it puts the story at the forefront with the music acting as a conduit for the narrative. As such, you leave humming none of the tunes but feel completely engrossed and engaged in the love story presented.

At points, the production can feel sickly sweet but it generally hits the notes well and Joanna Woodward brings us chronologically through Clare’s journey with a likeable ease and delivers a show-stopping performance when singing ‘I’m in Control’ in the second act.

In fact, all the performers are fantastic without a single weak link. The collection of stellar voices elevates what could at points be a banal soundtrack. The music and lyrics by Joss Stone and Dave Stewart hit all the key moments and help drive the narrative forward at a pace despite delivering no memorable melodies. This aids Lauren Gunderson’s book which masterfully presents what could be a convoluted narrative in a digestible form.

A special mention should be made for the performance of Holly-Jade Roberts playing Young Clara and Alba, who delivers an impressive and professional performance that holds its own with the adult performers. Undoubtedly one to watch in the years to come. David Hunter provides a lovable charm as Henry supported by the comic and charming Tim Mahendran and Hiba Elchikhe as Gomez and Charisse. All the relationships feel real and there is a particularly touching scene between Henry and his father, played with beautiful understatement by Ross Dawes.

The direction from Bill Buckhurst is slick and allows us to emotionally connect with every person we are introduced to from the main couple, their parents, friends and even a scene stealing Librarian (Alwyne Taylor) and as such we genuinely care for the love story that is as the centre of this production. This is also aided by what at first appears to be a rather bland set, meticulously and seamlessly morphing across venues, space and time via the use of clever scene changes and projection although there is an odd use of this at the beginning of Act Two which feels more like a Bond opening sequence.

What at first would seem like a tricky task in making one of our lead characters disappear and reappear when travelling through time is effortlessly handled by Chris Fisher’s Illusion work which mirrors that done by Paul Kieve in Groundhog Day at the Old Vic earlier this year.

In summary, yes, the songs are forgettable but they all function to aid the plot which takes the forefront served by universally excellent performances. This production may not go down in the history books, but it knows exactly what it is and delivers on most counts. Fans of the book, film or a good romantic adventure in general will leave with a tear in their eye and joy in their demeanour.

⭐️⭐️⭐️⭐