Review: Moominvalley in November at Upstairs at the Gatehouse

⭐⭐ (Two Stars)

Moominvalley in November, currently playing at Upstairs at the Gatehouse, is a musical adaptation of Tove Jansson’s 1970 children’s fantasy novel of the same name, the ninth and final installment in the Moomin series. Directed by Amanda Noar, with book, music, and lyrics by Hans Jacob Hoeglund, the production follows six whimsical characters - Fillyjonk (Jane Quinn), Snufkin (Matthew Heywood), Hemulen (Stuart Simons), Toft (Izzie Winter), Grandpa Grumble (Martin Callaghan), and Mymble (Abigail Yeo) - who arrive in Moominvalley only to find that the Moomin family has left. The story is often interpreted as a meditation on grief and absence.

While the characters themselves are endearing, the musical’s storyline is difficult to follow, largely due to an over-reliance on the audience’s familiarity with the source material. It often feels like watching a series of loosely connected interactions rather than a cohesive narrative with meaningful development or character arcs. A theatrical adaptation should be able to stand on its own, and unfortunately, as someone who had not previously read Jansson’s final book, I spent much of the production confused about the events unfolding and the characters being referenced.

Each of the six performers is given the chance to shine through solo numbers and character-driven scenes, and all bring plenty of whimsy and heart to their roles. Particularly memorable are Stuart Simons as the adorably excitable Hemulen and Martin Callaghan as the elderly and forgetful Grandpa Grumble, who between them deliver some of the production’s most charming moments.

Hoeglund’s score, with orchestrations by Jen Green, features several lovely and emotive moments, with a standout being Snufkin’s recurring harmonica motif. The more melancholy numbers tend to capture the story’s atmosphere more effectively than lighter songs such as “A Family Picnic” and “Cleaning”, which merely narrate the characters’ actions rather than deepening our understanding of them or advancing the plot.

Lu Herbert’s set design features an eye-catching and colourful exterior of the Moominhouse, which rotates (sometimes a little clunkily) to reveal its interior kitchen. This is flanked by two multicoloured flats, and the four on-stage band members are partially concealed behind fabric trees. The costumes (also designed by Herbert) similarly successfully nod to Jansson’s original illustrations. One particularly lovely and imaginative staging moment involves a shadow play sequence, where the iconic silhouettes of the Moomins appear through simple yet effective cutouts held behind a white sheet. It’s the only time we see the Moomins’ likeness in the show, as their absence forms the heart of the story. Still, more extensive use of puppetry or visual storytelling might have helped in capturing the distinctive magic of Jansson’s world.

Overall, Moominvalley in November’s slow pace and a lack of narrative clarity make it difficult to fully engage with despite some charming performances and beautifully sombre orchestrations that echo the tone of Jansson’s original work.

Moominvalley in November runs at Upstairs at the Gatehouse until 16th November 2025.

Photos by Simon Jackson