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Off West End Musicals Review Roundup (Cable Street, Beautiful Little Fool, Ballad Lines)
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Mickey Jo
So in a fluke of programming, three new musicals opened in London at off West End venues in the space of a week. I happen to be seeing them on three consecutive nights and I am going to review all three of them for you right here. Right now. We are talking Cable street at the Malvern Theatre. We are talking Beautiful Little fool at the Southwark Playhouse Borough and we are talking Ballad Lines. That's upside down ballad lines at Southwark Playhouse. Elephant. Let's talk about some off West End new musicals, shall we? But before we do. Oh my God. Hey. Welcome back to my theatre themed YouTube channel. Or hello to those of you listening to this triple bill of theatrical coverage on podcast platforms. My name is Mickey Jo and I am obsessed with all things theatre as you could probably tell by the fact that I spent my week seeing three back to back new musicals. I am a professional theatre critic here on social media as well as a content creator and I'm going to be sharing with you my thoughts about each of these shows. If you have had the chance to see any of them, I either during these current runs or during previous runs. For those not making their world premiere, then let us all know what you thought of them in the comments section down below. If you'd like to hear more of my reviews about other musicals, about plays, things happening in London, in New York, then make sure to subscribe here on YouTube or follow me on podcast platforms. The first has already had a couple of off West End runs previously. This is an updated version of Cable Street, a story about the historic riots that took place in the face of rising fascism in 20th century London are coming to together of various different cultural communities. This is a big story being told on a small stage. Then we have Beautiful Little Fool. This is American written but being produced here in London, and it tells the story of F. Scott Fitzgerald who wrote such novels as the Great Gatsby, but really also the story of his wife Zelda and their relationship as recalled through the eyes of their daughter. It's got a very contemporary rock and roll score. And finally, down the street at the other Southwark Playhouse, the newer of the two Southwark Playhouse Elephant we have ballad line this was previously a musical called A Mother's Song. I think it's been slightly reworked and it tells an intergenerational story of female choice and motherhood as well as a sort of story running beneath that about the journey of music and musical styles from one continent to another. So lots of exciting stories, lots of exciting music, lots for us to dig into today. Here are my thoughts about each of these. So the first of these shows which I saw this week was Cable Street. This is currently playing at the Marylebone Theatre in London and it depicts the battle of Cable street which took place in October 1936 in east London. A series of confrontations and obstructions and violent altercations between the residents of that area and their supporters and the police and a scheduled fascist march. And immediately we can have a conversation about the acute, unfortunate, painful relevance of a piece like this which renders it absolute, absolutely essential in the current socio political climate here in the uk. Very much so. With the rise of reform and anti immigration messaging and social division and all of these frustrating, pointless, hateful, terrible things, but also on the world stage entirely in talking about and depicting this event, the show digs in to anti Semitism and fascism and the nature of indoctrination and recruitment and the kind of isolated, desperate individuals who could be lied to and manipulated in order to persuade them to join the ranks of the then buf. But one of my favourite things about the show is it's also a very satisfyingly intersectional overview of that entire time and that entire neighborhood which constituted multiple diaspora. And with Irish immigrant and Jewish families living side by side in the show, literally within the same building. As Neighbours, we are acquainted with a trio of protagonists, each of whom, critically, is experiencing a very similar struggle, though they are sort of. Each led to believe that the other may be their enemy. And I think it's really important to tell a story like this from those different perspectives and with regards to multiple different communities who came together. That's the entire point of the Battle of Cable street, is that it wasn't just based on one community rising up against oppression. It was a true collaboration, the likes of which ought to inspire us today. But also it's just as important to represent those communities as not being monolithic. And there is divide within each of these households about what the right thing is to do and how they should respond to this announced fascist march that's going to parade down their street. The battle itself not taking place until the second act. There is an awful lot of exposition, a lot of character development that needs to happen in the first. We need to establish and instill all of the tension that is going to build ahead of this confrontation, which structurally, I think, is a very good decision. The show has this massive challenge on its hands in terms of representing this battle and this thing of scale and all of these different communities in an off West End venue with a, you know, relatively speaking, a small cast, in terms of the scale of what it's trying to achieve. It reminds me of shows like Ragtime, which sort of bring multiple different communities, multiple different sub ensembles, I guess, of a company into conversation on stage, and always works best on an epic scale. Gale. The score, by the way, has been written by Tim Gilvin, the book by Alex Kanefsky. I think both are brilliant. There's a really winning song that we meet early on in the first act called what Next? It's up there with some of the best new British standalone musical theatre songs that I think we've heard in the last decade. This is sung by the character of Mairead, the young Irish woman, and it represents, I think, some of the score's best qualities. It is rousing and defiant, but also very uplifting. Tim Gilvin does a great job of creating aspiration and despair in turn. And there are moments when this has to be handled very deftly because. And this is a really interesting thing, I think, to consider. There is the character of a young man who is very much welcomed into the BUF and seduced by the attractive ideas of fascism to a young man such as himself, played in this run by the brilliant Barney Wilkinson very, very well. And he sings they let me in. And how meaningful that is to him to have been welcomed and embraced at a challenging time of his life. And so he's singing about it very positively. And the tune is buoyant and positive, and the orchestration is buoyant and positive. And we as the audience know that this is a bad thing. But the song which is born out of his mind, you know, he does the thing of. He starts singing because he can no longer speak. And it's a triumphant emotion for him, is dictated by his own positive feeling about it. He just sees this as a great thing in that moment. He doesn't see the reality of it for what it is. He doesn't know that he's being deceived. And so the question should the orchestration be pursuant to how he truly feels, or should the orchestration reflect the show's overall perspective or the audience's perspective, or what we ought to be feeling about that song in that moment? The brilliant solution to which is to conclude the thing with this ominous, quiet ending that does not have a little button so the audience doesn't applaud. It just sort of hangs there. He presents it joyfully, and then we have to consider what that means to him and decide for ourselves that Think is a great choice and a big improvement for this run. I was also much more convinced by the rap delivery this time around. The young Jewish character whose name, oh, his father calls him Shmuley Sammy, he calls himself, he has a lot of anachronistic rap vocal, which I gather is meant to speak to sort of his sensation, to do something new and break away from family tradition. And this energy that he had. It's kind of getting to a similar point that the music of Hamilton is. And it also sort of speaks to the contemporary resonance of the show, even though it's taking place, gosh, almost a hundred years ago. He's played very convincingly by Isaac Grin. I should also mention that Lizzy Rose Essen Kelly plays Mairead, this leading trio in this production, really fantastic and brilliant together as they sort of experience their lives in parallel and then come together and move apart and come back together again. And there's an awful lot that Cable street gets right. I think there are also a handful of challenges with which it is still contending. This idea of scale being one of them. We have a lot of mulch multi rolling within the ensemble cast, which isn't always necessarily effective. It's also one sided because, and I don't know that people consider this very often because it's something we see a lot. We have a lot of female presenting performers playing male roles by adopting a gruff voice and putting a hat on. But we never see male identifying performers playing female roles that I could notice. And so all it really serves to do is undermine the threat and seriousness of some of the police characters and also the members of the buf. I also have something of an issue with the framing device. I like the idea of it very much. A woman from America arrives to a tour of East London trying to connect to the birthplace of her late mother. The tour guide is deeply passionate about the area because it was the home of his uncle. You can maybe see the direction that this is ultimately heading in. But he's also lamenting constantly the fact that most of the tour groups around the area are doing like Jack the Ripper inspired tours rather than authentic, meaningful history. The problem with this is the way that it's framed to us because she arrives, telling him vaguely why she's there, and then about a dozen people show up simultaneously from either side of the stage, all of them going, oh, sorry, well, there's traffic, whatever. In the most unconvincing arrival I think I have ever seen. And unfortunately I realized that this was the entire cast. And we are going to see this tour group sort of reappear as a framing for the show as we continue. And I thought to myself, there is no way you're gonna have the whole cast available next time you do this. So the size of this group is going to fluctuate. And it does. But it's not just that. We see a Jack the Ripper tour at one point that has far fewer participants, which very much flies in the face of this tour guide's complaints. He sees it and again, he laments that it's happening. And he's like, people used to want to come here to find out where their parents lived. And I'm like, yes, two of your larger tour still want to do that. They told you about it before. Even if half of them have disappeared. I think the wonderful Adam Lanson, who has developed and directed this piece has done a fantastic job of establishing character and the emotional trajectory of the entire thing with all of its various interconnectivity. It's a very challenging story. To tell it has this sort of sprawling quality, but I think it gets character really right. I would love for the show to attain something more of a specific visual storytelling identity and to make a slightly firmer decision about where it stands on satire, because there are a handful of characters who enter singing newspaper headlines in the styles of those newspapers. And that's fine if that's the only sort of satirical aside that we're going to have. The song sung by the BUF when they introduce themselves in a sort of an Operation Mincemeat esque boy band style with overhead pink lighting, really flies in the face of the rest of the show tonally. And I just don't think we need to hear those characters sing, especially so insincerely. That being said, we do get some beautiful moments of honesty and sincerity throughout the rest of the show. I could take or leave the Like Bread and Roses song that kind of interrupts the pace of the first act, but there is one in the second. Only Words was the real astonishing highlight moment of the show, I think, which is a song sung by Sammy's father as he advises caution and to, you know, not put himself in the line of danger in the approaching events. There are an abundance of things to take away from a story like this, from a show like Cable street, especially at the current moment. I think this is essential viewing for everybody right now. Go and check it out. At the Marylebone Theatre, they are doing something.
- [13:49]
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- [14:21]
Mickey Jo
Very special. Next up, I went to Southwark Playhouse to see Beautiful Little Fool. This actually opened last week while I was out of the country, so the producers were gracious enough to let me come and catch it a little later on. And the show didn't open last week to particularly positive reviews. Mine is not going to be a particularly glowing review of the show either. There is a lot to be said positively about this piece of theatre, and it did this really interesting thing of not Just growing on me, but genuinely improving from one scene to the next as it progressed. It almost seemed like it was discerning a stronger sense of its own identity in real time. And the material certainly improved over time. The score has been written by Hannah Corneau, who was also scheduled to be one of three principal performers in the show. She's a Broadway actress. She was playing the role of Zelda Fitzgerald. I believe she has had to step away from the production, perhaps for the remainder of its run, but don't quote me on that. The role now being played as it was at the performance I saw by the astonishing Amy Parker, who I will tell you more about, but whose career I've been following for a really long time. I'm a huge fan of hers. David Hunter stars alongside as F. Scott Fitzgerald, with Lauren Ward playing their daughter Scotty. Looking back on the lives of her parents at a time when she realizes she has exceeded the age that either of them lived to. And her role in the show, I think, offers a little bit of insight into why the material improves exponentially as we move forward, because she reflects on the earlier years of their lives. And so she only becomes really present in the narrative as they get older and she becomes a teenager and then a young adult version of herself. And once Lauren Ward steps into these book scenes and these memories with her parents, then it's really fantastic stuff. There's one scene with her mother at an institution which tells you a little bit about the life that Zelda Fitzgerald sadly led, which was so brilliantly well written, fantastically performed. It didn't do the fatiguing musical theatre thing of ushering us too quickly into a song. They took plenty of time and space. The whole thing only runs for about 90 minutes. It's a one act musical. But some of those scenes and some of those emotional interactions which we eventually arrived at were really compelling. And I think perhaps that's indicative of what this maybe ought to have been the entire time, which was a more substantial conversation between her and her parents, maybe a little less linear. There are enduringly, I think, challenges with the score because you do, I think, have to hold the audience's hand and walk them a little towards the understanding of why you have an anachronistic contemporary rock score with a story like this and Post HamiltonPost 6 and delving into history and reclaiming and uplifting women's stories, which is obviously a really positive thing for us to be doing. We can understand that. We can look at this thing that is classic and hear a completely different sound I just don't know if tonally, the energy of the whole thing was anarchic, as the songs seemed to want it to be. Occasionally we had microphone stands and handheld, but otherwise, in terms of its aesthetic, in terms of its sensibility, it didn't seem to invite that sort of a sound. In any case, I don't think there's really much justification other than, you know, because they can, for making performers sing at the absolute height of their range. There are some moments of this that are just far higher than they objectively needed to be. It would still sound impressive half an octave down. In fact, I wrote in my notebook, why is Zelda Fitzgerald doing an Elphaba Belt to lyrics Madonna would have turned down? Which does bring us to the next significant creative problem. I enjoyed this show more progressively. I never really admired the lyrics. And one of the earliest that we heard in this introductory number, as F. Scott Fitzgerald and Zelda are summoned to the stage, is them singing repeatedly. Nobody parties like us, I think four times in a row. There was, sadly, a deeply generic quality to the lyrics of this show that made the current Broadway production of the Great Gatsby seem like it was written by Sondheim. And for the first half to two thirds of the show, not only is the story predictable, but it's also, you know, nothing we haven't seen before. It shifts from this last five years esque reflection of these two newlyweds about the different professional opportunities that they have as aspiring writers in the early 20th century. Spoiler alert. Lots for him, none for her, propelling them into this marriage of drunken resentment and disappointment that began to look like who's Afraid of Virginia Woolf? Before we eventually arrive at their relationship with their daughter, which is toxic enough to remind us of next to normal. And if one problem is that from fairly early on their relationship doesn't really evolve, another is that we keep being told in this establishing narration that they clung to each other, that they were each the saddest person in the room, and they found each other and they depended on each other, and much of what is described as a quality in each of them that we never really have the chance to glimpse. We are told repeatedly that they are haunted, that they have these demons. We see the consequences of all of that. But we meet, we are introduced to these sparkling, effervescent, confident personalities, her especially. And while the show does an admirable job of vindicating her, I don't know that it really contends with the complexity of her life and the woman that she was in Spite of all of this, though, it's not a difficult watch. You have a really talented trio of performers playing these roles. I think inherently there's not as much for David Hunter to do as F. Scott Fitzgerald. He has the requisite charm, he sings well. I buy into the relationship between these two. If not as meaningful and layered as it was described, it is certainly frantic. The female roles, though, are definitely more thoroughly written and Amy Parker is astonishing as Zelda Fitzgerald. She sparkles on that stage. There is and there has always been a confidence and a conviction that she brings to a characterization. I saw her in one of the earliest iterations of the musical Ride at the Vault Festival years ago. I've been a huge fan of hers ever since. The vocal tone that she has is so unique and specific and sublime. Lauren Ward, meanwhile, in this really intimate off West End space, is giving a world class acting performance. When we eventually get to those moments where she's engaging with the memories of her parents and reflecting on the challenges of their lives and what hers amounted to, it's brilliant stuff. She is a phenomenal actress. The production is directed by Broadway's Michael Greif and the set has been designed by Shankar Chowdhury, One of the most stunning and intricate and complex sets I've ever seen within Southwark Playhouse boroughs. Larger space to have a two level set that looks as stylish and gorgeous as this one does is pretty much unheard of at that venue. And in spite of its shortcomings, I do still really think this deserves to be seen. I also think that the that like with Cable street, it's an important story to tell. We have to make time for stories like this and to reflect on history such as this that deserves to be uplifted in this way. There's a lot about the ethos of this show that I appreciate, even if I think the execution is a little skewed, much of which I think could be improved by retooling some of the lyrics. For these to be songs emerging from the mouths of these celebrated writers, the craft of the lyrics needs to be better. But I remain very intrigued about the future of of.
- [22:04]
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- [22:34]
Geico Representative
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- [22:38]
Janice
Best cheese steaks in town.
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Geico Representative
Janice traded up to Geico Commercial Auto Insurance for a food truck business. We're here where she needs us most.
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Janice
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Janice
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Mickey Jo
The onion.
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Jack Myers
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- [23:06]
Mickey Jo
Beautiful little fool. Finally. Then we arrive at one of my most anticipated openings of 2026, which was ballad lines at Southwark Playhouse. House Elephant, their newer, larger space. This is a brand new folk musical with a score by Finn Anderson and a book by Finn and Tanya Azevedo. It was previously titled A Mother's Song. You might have seen it in an earlier iteration, but like I mentioned, it tells the story of multiple generations of women faced with a similar decision, but with very different prospects, each of them the decision being whether or not they wish to enter her motherhood. And the jumping off point for this show is a young woman named Sarah living in New York. She's just moved in with her partner Alex. They're a young queer couple. The world is their oyster. This is going to be their year. Now, prior to the death of Sarah's late Aunt Betty, the two of them had become estranged. However, she had left her a sort of a mysterious inheritance, a box which Sarah, until now, has never opened. With the encouragement of her girlfriend, she opens the box and discovers a sort of an archive, recorded stories made by her aunt, chronicling the family history and ostensibly the history of specific songs, storytelling songs, ballads that were brought from the family's Celtic roots to the Appalachian Mountains where she lived. And what the show does here is to personalize the story of music moving from one country, from one continent, from one completely different culture to another. And the origins of this, I guess, American folk sound in like these Celtic folk roots, which is really interesting and you can hear it in the songwriting and the orchestration throughout the show you hear this sense of evolution and we move between these different sounds going back to like the 16th, 17th century, going from Scotland to Ireland on a crossing over the Atlantic to a more contemporary American folk country. Kind of a sound. And that's kind of the story beneath the story. But the more emotionally compelling aspect of of it is the story of each of these women, of Betty's ancestors, Sarah's ancestors, who each had to make choices about whether or not they were going to become mothers. The earliest being the story of Kate, played by Kirsty Findlay, the wife of a reverend who has found herself pregnant, which is everything that he wants. He is ready for them to grow a family. It isn't what she wants. And during the times in. In which she lived, there is no way for her to tell him this. She does not have a great many options. She seeks support from a local woman who is branded a witch. This entire plotline is played so stirringly by Kirsty Findlay. She is fantastic in this show. Then we move a few generations closer to the present day with Ina Treval playing Jean, a young woman who has become pregnant after an encounter with a sailor. She flees the shame of her family and the spite of her sister in an attempt to cross over to a new life in America on the other side of the ocean. And the story of her brave determination blooms into a beautiful one about sisterhood. And then we have the present day with Sarah, played by Frances McNamee, and Alex, her partner, played by Sydney Sante, as well as the memory of Aunt Betty, played by Rebecca Trehearn. And though Alex and Sarah had previously believed themselves to be on the same page about not wanting children, this experience of hearing these stories and feeling connected to these songs of. Of her ancestors and the brave choices that they made for themselves empowers Sarah to realize that maybe this is something that she does want after all, and that she does want to become a mother. This creates a challenging conversation in the relationship. It also prompts her to reflect on her relationship with her Aunt Betty, her relationship with her brother, who she hasn't spoke to in some time. It really, really alters the trajectory of her life completely. And the show reflects via this honest storytelling and all of these different perspectives on the many different facets of choice and motherhood and the different parts of this journey and the implications of it and the different attitudes towards it and the ultimate validity of all of that. The show is really celebratory of each woman's right to bodily autonomy and her decision over what her life is going to be and the person that she gets to be and the life that she wants to lead. I said a few years ago that there was a real scarcity of queer female characters in musical theatre narratives. I'm happy to say that that has been substantially addressed over the last few years. But I love a show like this that doesn't feel like it's filling any kind of a feminine quota, that is unashamedly telling a queer story. A story of intergenerational womanhood and personhood. One that doesn't preach to an audience about a woman's right to choose, but simply presents, I think, an inescapable emotional reality. It also, just as I'm beginning to make it sound fatally serious, features a gorgeous, beautiful score, plenty of moments of levity. Sydney Sante is hysterical as Alex gets some really great sarcastic lines. Tanya Zaveda has done a really great job in directing this. The transitions between each moment and between these memories and these different interwoven storylines is so seamless, is so beautifully staged. The visual storytelling language of the whole thing, the choreography by Tino Vimbernasche Subanda, really, really stunning. And is characterized with the same sense of. Of community and togetherness and life and urgency as the score. We visually see so much choreographed around the idea of like an urgent heartbeat. And we hear that in the music as well. It's gorgeous music. I mean, immediately after listening to this, go and listen to some of the songs from the Ballad Lines concept album. It's really some of the most ornate and sophisticated new musical theatre writing I've heard in a long time time. I also enjoyed Carly Brownbridge's costume design so, so much. I wanted the sound design to find and I think it's a challenging space, but slightly more resonance and reverb. I kept imagining how gorgeous this would sound in a church and I just wanted to go and listen to it in like an old converted church somewhere because it does invite that quality of historic emotional reverberation. Aided significantly, I should say, by the fantastic voices singing this score. Frances McNamee and Rebecca Trehar turn both have such delectable caramel covered vocal tone. It is a joy to listen to the both of them singing absolutely anything. It's a real privilege to get to hear it in such an intimate space. There is so much to really treasure about this show. I do still think that it's one in development that could be even further refined. I think that you don't necessarily need an interval. I think you could do the whole thing in a hundred minutes. Especially I think after we've come back from an interval into the second, the second act. And we're reflecting then on how these historic stories have progressed, I think we've lost something of a sense of their momentum and by that point, because it's prolonged, we expect them to amount to something a little bit more. I also think the ratio is a little off and we maybe could condense some of the present day scenes. Everything can still happen, but I think every scene could be like half a page shorter. All of that being said, there is an energy in this show that you only encounter every so often. The Curious Case of Benjamin Button had it shows like like once had it, and it has a similar sort of sense of stirring community. I think you get that through the folk musical theater score. It's a really interesting sound to play with, and it naturally, as we're playing with the idea of ballads, invites beautiful musical theatrical storytelling, which this does very, very well. Go and check this out at Southwark Playhouse Elephant. It is a gorgeous little. And that finally brings me to the end of this triple bill review of new off West End musicals. It was a privilege to get to see each of those, and I'll be seeing many more over the coming weeks. I'm seeing another sort of off West End musical, but it's not a new one. It's a remounting of American Psycho at the Almeida in the coming days. So stay tuned for that review. If you want to hear my thoughts on that and many other shows, make sure you're subscribed here on YouTube or following me on podcast podcast platforms. If you want to check out those shows for yourself, go and book a ticket. They are Cable street at the Marylebone Theatre, Beautiful Little fool at Southwark Playhouse Borough and Ballad Lines at Southwark Playhouse Elephant. If you've seen them already, please share all of your thoughts and feelings in the comments section down below, especially if you have anything to talk about that I didn't get a chance to, or if you wildly disagreed with me. Finally, thank you so much for listening to my thoughts. I love talking about theatre and I truly appreciate anyone taking the time to listen. As always, I hope that everyone is staying safe and that you have a stagey day for 10 more seconds. I'm Mickey Jo Theatre. Oh my God. Hey, thanks for watching. Have a stagey day. Subscribe.
- [32:24]
Geico Representative
Hello, I'm here during the lunch rush with Janice, who owns her own food truck.
- [32:28]
Janice
Best cheesesteaks in town.
- [32:30]
Geico Representative
Janice traded up to Geico Commercial Auto Insurance for a food truck truck business. We're here where she needs us most.
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Janice
They sure are.
- [32:36]
Geico Representative
We make it so easy for her to save with customized coverage that grows with her business. Sorry, I just get so emotional talking about saving folks money.
- [32:44]
Janice
Not this onion I'm chopping.
- [32:46]
Geico Representative
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- [32:49]
Mickey Jo
The onion.
- [32:49]
Jack Myers
Get a commercial auto insurance quote today@geico.com and see how much you could save. It feels good to Geico.
- [32:55]
Janice
Lunch was great, but this traffic is awful.
- [32:57]
Epi Patient
Um, can we stop at a bathroom?
- [32:59]
Mickey Jo
Are you alright?
- [33:00]
Epi Patient
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- [33:23]
Creon Advertiser
Creon may increase your chance of fibrosing colonopathy, a rare bowel disorder. Tell your doctor if you have a history of intestinal blockage or scarring or thickening of your bowel wall, if you are allergic to port, or if you have gout, kidney problems or worsening of painful swollen joints. Dr. If you have any unusual or severe gastrointestinal symptoms or allergic reactions, take Creon as directed by your doctor and always with food. Do not chew capsules as this may cause mouth irritation. Other side effects may include blood sugar changes, gas, dizziness, sore throat and cough. These are not all the side effects of Creon. Call 800-633-9110 or visit creoninfo.com to learn more. That's creoninfo.com I'm asking my doctor about.
- [33:53]
Epi Patient
Epi and if Creon could help.
- [33:57]
Acast Announcer
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Epi Patient
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Acast Announcer
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