At a time where the likes of Heartstopper, Sex Education and It’s A Sin have represented young LGBTQ+ storytelling becoming firmly ensconced within the entertainment mainstream, the forward-thinking scope of musical theatre feels more proudly pronounced than ever.

Rent, La Cage, Priscilla, Everybody’s Talking About Jamie… the list goes on. Musicals have often been at the frontier of exploring the boundaries of sexuality, gender identity and expression. TV and film, it seems, have recently been playing something of a game of catch up.

It makes Becoming Nancy, the Birmingham Rep’s new musical offering based on Terry Ronald’s 2011 quasi-biographical debut novel of the same name, something of a curio.

Let’s preface by acknowledging that new musical theatre is always something to be celebrated, and Nancy certainly gets its song and dance down pat. Directed and choreographed with relentless energy and razor sharp precision by the legendary Jerry Mitchell, this is a show that looks, moves and sounds terrific. George Stiles and Anthony Drewe’s soundtrack is positively stuffed with catchy, jaunty earworms and even a toe-tapping disco showstopper or two.

“George Stiles and Anthony Drewe’s soundtrack is positively stuffed with catchy, jaunty earworms…”

Presenting something of a ‘what if’ on a real-life scenario that occurred to Ronald when he was cast as Nancy in a school production of Lionel Bart’s Oliver!, Becoming Nancy follows the trials and self-discoveries of young David Starr (Joseph Peacock) after he accepts the unconventional offer (whereas Ronald in real life turned the opportunity down). He’s cast against newbie transfer student, the hunky Maxie Boswell (Joseph Vella) to whom he finds himself instantly attracted, and juggles his burgeoning sexuality and identity alongside backing up his best friend, fellow outcast Frances Bassey (Paige Peddie). Whom we are assured is no relation to Shirley.

David is a neatly realised creation. He’s occasionally theatrical, for sure, and makes healthy use of breaking the fourth wall to comedic effect, but on the whole it’s a very human and nuanced depiction of a young gay character. He shares his excitement at being cast in the role, but he also has a punkier passion for Sting, Debbie Harry and Kate Bush. It’s a reassuringly non-atypical portrayal, and Peacock does a great job of fleshing him out into a likeable, dimensional lead.

It’s just something of a pity that a number of the characters and narrative choices around him register at-times achingly familiar. Nancy serves up a smorgasbord of staples; the customary high school bullies, the sassy yet supportive aunt, the flamboyant yet mentoring drama teacher, the disapproving, narrow-minded father and the supportive, worrying mother, complete with her own power ballad of unconditional, ‘that’s-my-child’ maternal rawness.

Similarly, a subplot concerning racist thuggery may be no less timely now than in the late seventies when Nancy is set, but it is disappointingly laden and on-the-nose in its execution. It seems to take the concept of ‘show, don’t tell’, throw it out the window, and then repeatedly go to lengths to tell you why it has done so.

Thankfully, the second Act unshackles itself from formula a little to go down some more interesting and pensive avenues. A strong focus on a fake girlfriend, whilst initially offering shades of Ian Gallagher and Mandy Maguire a la Shameless, neatly explores the emotional fallout of what could easily have been a throwaway or joke character. Daisy Greenwood does excellent work here, as an impetuous classmate who finds herself with an unrequited attraction to David, culminating in a beautiful duet with Genevieve Nicole’s empathetic Aunt Val.

And whilst the ‘will they, won’t they’ dynamic between David and Maxie feels strangely sidelined for a good chunk of Act II, when the duo finally escape to the freedom and acceptance of Brighton (naturally), Nancy offers up some interesting and truthful subversions. The usually confident, carefree Maxie here struggles with the unabashed openness of the Brighton ‘scene’, questioning who and what he really is, leading to some earnest, relatable and mature highlighting of the young gay experience.

But for the most part, Becoming Nancy plays it safe and hits tried and true beats. It doesn’t quite earn some of its emotional payoff and character resolutions, with its villains in particular turning out to be pure cookie cutter fare, but you’ll still doubtless be smiling and bopping along by the time its crowd-pleasing curtain call plays out.

This is no small part thanks to Mitchell’s vibrant and joyful direction and choreography. There are plenty of fun, characterful set pieces that Mitchell goes to town on – from a Donna Summer-esque flourish in a Brighton gay club to a giddily hilarious spot of musical encouragement from avatars of David’s musical heroes (Nicole making for a hysterically perfect Kate Bush here).

“Peacock and Vella are an endearing, likeable central duo…”

It’s a big, colourful spectacle too, with David Rockwell and TJ Greenway’s staging punctured with splashes of punk rock video and projection work, alongside Philip Rosenberg’s vivid, punchy lighting. Nancy leaps off the stage much in the vein of its comic book and disco inspirations.

Equally elevating are the show’s terrific company, from an exciting, vigorous ensemble and swing, through to a uniformly impressive central cast. Peacock and Vella are a winning, loveable central duo, even if they could probably benefit from an extra scene or two to let their burgeoning romance marinate. The ever-dependable Rebecca Trehearn brings a quiet resolve and dignity to David’s mother Kath, and offers up some of the most roof-raising vocals of the evening with a searing rendition of ‘About Six Inches From Your Heart’. Though she’s comfortably met by a resplendent Paige Peddie, who puts in a great supporting turn as Frances, and absolutely tears up both of her big ticket numbers.

Elsewhere, Stephen Ashfield is great fun and in fine voice as both kindly teacher Hamish and a certain rock star alter-ego, and if a full musical was ever commissioned for Genevieve Nicole’s Aunt Val or Kate Bush, we’d absolutely be the first in line.

Ultimately, it’s hard to not be won over by Becoming Nancy, familiarity be damned. It never quite manages to forge its own identity or purpose to the extent of a Billy Elliot or Jamie, but it’s still an uplifting experience peppered with important and truthful moments. It’s an easy recommendation for the music, direction and cast alone, surely a trifecta any respecting musical theatre fan should be hoping for.

Go in expecting the second coming of original, groundbreaking queer musical storytelling and you may leave faintly disappointed. But let yourself laugh and bop along to a charming, comfortable and colourful journey rich with great tunes and loveable characters that keeps things mostly surface-level and you will likely ‘consider yourself’ right at home with Mitchell and Ronald’s energetic, feel-good and affirming Nancy.