Thoroughly Modern Millie is a thoroughly old-fashioned boy-meets-girl story, spiced up by an unlikely Chinese white slaver in drag. The original award-winning musical film was rewritten for the stage in 2002; its thin plot has always depended on song, dance and sequins, demanding huge amounts of energy and charm to make it come alive.

In David King’s production, the sum of the parts never quite makes it a whole. Set pieces – the Speed Test, the Nutty Cracker Suite and Forget About the Boy – are brilliantly choreographed, danced with sensitive skill, and balletically expressive.

Joanne Clifton as Millie is a wonderful dancer and Katherine Glover’s Dorothy is a singer in the Julie Andrews style. Jenny Fitzpatrick sings a mean blues Muzzy, and leading men Graham McDuff and Jimmy Smith acquit themselves with distinction.

But the second half loses momentum; the set was dull and the lighting lacked imagination. It is too long and lacked the zip that should characterise the manic zest of 1920s speakeasies.

There are hilarious cultural references, a WGS patter pastiche, sparkling dresses, pretty girls and dashing boys but it's slim pickings for a giant Broadway spin-off.

Runs until tomorrow.