Tales that are woven into the whole, revealing something of the personalities, the energies and above all, the talents of the young people involved.

Drawing on the mythology of the selkie, a creature that morphs between seal and human form by removing or putting on its magical coat, the show deals with transition points in life and the choices young people face as they approach adulthood.

Just as the selkies must choose whether to stay in human form or return to the sea, so the young people in the town of Blackwater Cove, where the selkies wash up, must make decisions about their futures.

Which world do they belong to? And does it involve leaving parts of their childhood, with its security and, sometimes, its insecurities, behind?

The sense of tradition and the feel of the sea are amplified through the show’s music. Sea shanties and nautical ballads are delivered by the whole cast, as well as through duets and solos.

Voices are impressive across the board, with some lovely harmonisation, good use of movement and catchy rhythms. Like the selkies in the sea, cast members are in their element when they sing. A live band on stage throughout helps to keep the music tight.

There are shades of Under Milk Wood in the various characters who populate Blackwater. From the mayor to the council’s marketing officer, from the librarian to the museum manager, eccentricity is coupled with affectionate humour.

In fact, comic touches feature throughout. Donkeys on the beach have spades for ears and buckets for noses. The volunteer roles which the selkies take on in the town read much like the first day of work experience for many young people.

If the stage, with its complex set of platforms, gangways and fishing nets and its large cast, sometimes feels crowded, performers are spot-on in knowing where they have to be and what they have to do.

As the production runs, they will likely feel at ease with the business side even more. BYMT is, after all, as much about the opportunity to learn stagecraft as it is about growing musical skills.

Birmingham schools and a development weekend with some of the cast have enabled the ideas and creativity of young people to feed into the production. And it shows.

The performers’ empathy with the themes of change, acceptance of difference and kindness is apparent. As the evening progressed, they relaxed into their performances and, by the end, were clearly enjoying themselves immensely. This sort of stuff is infectious.

Sea Change was presented by BYMT in partnership with Birmingham Hippodrome. It was written by Elinor Peregrin (Composer + Co-Lyricist) and Will Jackson (Writer + Co-Lyricist). The director was Will Jackson, choreography was by Eleanor Rattenbury, and set and costumes were designed by Kritika Agarwal. Musical direction was by Sarah Morrison.

It runs at the Birmingham Hippodrome until 30th August and for further information visit birminghamhippodrome.com.