Moominvalley in November – Upstairs at the Gatehouse

Moominvalley in November is a new musical adaptation of Tove Jansson’s book of the same name – the final book in the Moomin series. 

The first thing that stands out is the wonderful production design. The audience arrive to see gorgeous set (designed by Lu Herbert), with beautifully painted trees and fallen leaves, a lovely painted river and – in the centre – the Moominhouse. Warm shades of red, orange, and brown effortless evoke autumn, while the soft blue of the house stands out. Once the show begins, the costumes (also by Lu Herbert) are just as delightful as the set design. Even if you only have a passing familiarity with Moomins, you’ll recognise Snufkin’s iconic getup, which has been lovingly adapted. The designs do not attempt to perfectly imitate the original illustrations, but rather to re-imagine them in a way that makes sense for a live performance with human actors.

The plot follows six different people who arrive in Moominvalley to spend time with the Moomins, only to find that the beloved Moomin family aren’t home. These six people – with vastly different personalities – must now spend time with each other instead. The plot is almost completely structureless. One non-sequitur follows another, with events happening seemingly randomly. I have not read the original book, but I gather this adaptation is extremely faithful to the source material. Some may find the randomness and incoherence frustrating; others may find it whimsical. For better or worse, the script makes you work hard to make sense of it and to interpret any meaning from it. If you put in the effort to engage with it, you’ll find a meditative exploration of nostalgia, memory, loss, and grief.

The performances were all solid, with a coupe of standouts. Martin Callaghan was hilarious as the curmudgeonly and wilfully forgetful Grandpa Grumble. Almost every line of his was laugh-out-loud funny, delivered with loveable cattiness. Matthew Heywood embodies Snufkin with gentle yet stoic earnestness. Abigail Yeo brings some overt playfulness to the role of Mymble, helped by the fact that her musical numbers are the most upbeat and fun.

The musical numbers are in general pretty good. None of the songs are especially memorable, catchy, or moving, but nor are they ever boring. The more upbeat songs were my personal favourites, such as the jazzy song-and-dance number ‘I Just Can’t Help It’. The choreography gets the job done, without being particularly exciting. This is not a singalong Broadway musical, and nor does it aim to be.

It’s unclear exactly who the target demographic is. As a faithful adaptation of the book, I assume existing Moomin fans will enjoy it. Children likely will not. The official age guideline is 8+, but in terms of its bizarre structure, lack of clear stakes, and contemplative themes, it seems to be mostly geared towards adults. However, the simplistic dialogue and exaggerated performances feel like they’re straight out of a children’s show.

Overall, November in Moominvalley challenges you to meet it where it’s at. It is subtly but unashamedly strange and whimsical. It deliberately eschews traditional narrative structure, instead focusing on mood and atmosphere. If you’re willing to engage with it with an open mind, you might find it to be beautiful and moving.

Moominvalley in November runs until the 16^th of November at Upstairs at the Gatehouse, with tickets available at: https://www.upstairsatthegatehouse.com/

Reviewer: Charles Edward Pipe

Reviewed: 28th October 2025

North West End UK Rating: