Currently on national tour, An Officer and a Gentleman the musical brings with it the nostalgic echoes of the beloved 1982 film. This stage adaptation is an exploration of ambition, love, and the struggle for personal redemption set against the backdrop of Navy Officer Candidate School. The show captures the essence of the original story while infusing it with vibrant musical numbers and a fresh theatrical flair.
An Officer and a Gentleman follows Zack Mayo, a young man who enrolls in the Navy’s Aviation Officer Candidate School with dreams of becoming a pilot. Raised by a neglectful father and haunted by his mother’s suicide, Zack grapples with his troubled past while trying to navigate the rigorous training led by the tough-as-nails Gunnery Sergeant Emil Foley. As he faces physical and emotional challenges, Zack develops a complicated relationship with Paula Pokrifki, a local factory worker who dreams of marrying an officer. Their romance is tested by societal expectations and personal fears, especially as Zack’s commitment to his military career conflicts with his feelings for Paula. The story unfolds over thirteen weeks of intense training, friendships, heartbreaks, and ultimately, self-discovery.
The performances in this production are exceptional. Zack Mayo, portrayed when we saw it by understudy James Wilkinson-Jones, brings a raw vulnerability to the role. His journey from a cocky recruit to a man confronting his demons is compelling and relatable. The chemistry between him and Paula, played by Georgia Lennon, is impressive. Their duets, particularly ‘Up Where We Belong’, are highlights that showcase their vocal talents and emotional depth.
Gunnery Sergeant Foley, brilliantly portrayed by actor Jamal Crawford, embodies the tough love that defines Zack’s training experience. His performance strikes a delicate balance between authority and empathy, making him a memorable character who serves as mentor and antagonist. The dynamic between Zack and Foley is one of the production’s strongest elements, adding layers to their interactions.
The direction by Nikolai Foster effectively captures the essence of military life while allowing for moments of levity and romance. The pacing is well-structured; scenes transition smoothly from intense training montages to tender moments between Zack and Paula.
The set design is strong. The starkness of the military environment contrasts beautifully with more intimate settings like Paula’s home. This duality enhances the storytelling by visually representing Zack’s internal conflict—caught between his duty as an officer and his desire for love.
What stood out most was how this adaptation tackled themes of masculinity and vulnerability—something often overlooked in traditional military narratives. Zack’s struggle to reconcile his ambitions with his emotional needs resonated deeply and it felt refreshingly honest in its portrayal of male vulnerability.
The soundtrack was not original; it was 1980s power ballads. Sometimes they felt a bit forced in (I’m in the Army Now became I’m in the Navy now), but others (It’s A Man’s, Man’s, Man’s World, or Girls Just Want to Have Fun) felt natural. They were all beautifully performed and choreographed. While some musical adaptations can feel forced or overly sentimental, this production struck a perfect balance between honoring its source material and offering something new.
I did feel the show was hampered a little by the ‘male saviour’ aspect; fine in the 1980s, perhaps, but when all the women (except female cadet Casey Seegar, who at one point needed help on an assault course by a man) just wanted to be rescued by a man, it could have done with a little updating. Although to update it would be to strip it of the central plot line. So perhaps the story is just a necessary relic of a world 40 years ago.