Review: Ballad Lines (Southwark Playhouse Elephant)

Review by Daz Gale

⭐️⭐️⭐️⭐️

The journey to produce a new musical isn’t an easy one, and Ballad Lines knows a thing or two about that, itself going on a journey in the eight years since the original concept began. Given the nature of the story, it is rather fitting that their own road to London has been long and full of twists and turns. Finally, Ballad Lines is ready to make its London debut, travelling to Southwark Playhouse Elephant for a limited run. But would this musical successfully tug at the heartstrings, or would this ballad prove a bit too slow?

Previously known as A Mother's Song in a former life, Ballad Lines spans multiple centuries to form its narrative, focusing on a series of individual women, all facing different circumstances based on the times they live in, but with recurring themes of motherhood, the choices women make and the agency that can be forced upon them. The story centres around Sarah, a queer woman in New York, who discovers the stories of the women who came before her - there’s Cait, her 17th-century Scottish ancestor, and Irish teenager Jean 100 years later. Battling demons from her past, the show examines bloodlines, chosen family, the stories we inherit and the power of song and how it can be passed down from generation to generation, taking on a life of its own.

Sound like a lot? It’s much more coherent than that description may seem. At the heart of Ballad Lines is a clever idea that speaks of the basic rights of women and their bodies, even as the world evolves through the Centuries. Sarah’s determination to be a mother is still met with resistance in the 21st Century, as Cait’s plight is frowned upon hundreds of years earlier. The parallels between the women at the heart of the story make for a mostly compelling watch in a story that simultaneously feels familiar yet refreshingly new.

Finn Anderson and Tania Azevedo’s book beautifully weaves all of these stories together to create a rich tapestry that bursts with life and leaves you invested in the characters and the comparisons between them. There are several moments where the book does fall short compared to the music, with a couple of the characters feeling a bit too thin in comparison to their counterparts. This was most apparent with Sarah’s Aunt Betty, a real catalyst in the story who has an important role to play but is largely sidelined, leaving me longing to find out more about her. Given some of her actions in Act Two, I was keen to find out the motives behind this, and a little more exposition would have gone a long way. These are minor quibbles, though in a show that is pretty solid throughout, most of that is attributed to one aspect…

That aspect is, of course, the music. Written by Finn Anderson, the collection of songs that make up Ballad Lines are absolutely outstanding. Billing itself as a folk musical, the songs combine a number of genres and influences to create a rich world of music that manages to prove rousing and emotive throughout. It’s hard to single out highlights, such is the strong and consistent nature of the numbers, but ‘Chosen Family’ and ‘Change of Plan’ manage to stand out amongst the crowd, as does the sensational ‘Red Red River’. Collectively, Ballad Lines boasts one of the most impressive scores from any new musical in a number of years, and is undoubtedly the strongest element of a show that is pretty much in good shape throughout.

There is a real camaraderie in the relationship between the two writers, and that is evident to see through the rest of the production, with Tania Azevedo taking that spirit in her direction, resulting in some truly inspired choices. In the past, some shows at Southwark Playhouse Elephant haven’t made the best use of the space, but Ballad Lines has no such problem, with Azevedo ensuring every inch is utilised to heighten the intimacy and connection of the piece. There is a particularly inspired moment relatively early in Act One where the physical embodiment of “Ballad lines” is shown in a striking sequence and ultimate image - something worthy of an Act closer, though it more than serves its purpose in its place.

Tinovimbanashe Sibana’s choreography similarly impresses, resulting in some huge sequences and a gorgeous use of movement from the eight-strong cast, It is in these moments where the whole cast are together on stage that the real magic of Ballad Lines shines, with the genius and multilayered nature of Anderson’s songs breaking through to create some exquisite harmonies, most notably on the beautiful acapella number that kicks off the second Act. TK Hay’s set design is appropriately stripped back, yet effective in its execution, never distracting from the humanity on show that carries Ballad Lines through.

Though Ballad Lines is an ensemble piece by design, each cast member gets a moment to shine throughout the story. Gracie Lai and Sian Louise Dowdalls get relatively small roles, with the latter having a late payoff in a key scene. As the only man in the show, Ally Kennard takes on a variety of roles, showcasing his strength and versatility as an actor, while Sydney Sainté delights in her role as Alix, though this is the other character who could have benefited from a little more exposition, as right now we learn very little about her other than that she is Sarah’s partner.

Rebecca Trehearn is a real marvel as Betty, demonstrating great vocals and a captivating stage presence. An uncomfortable moment involving the character later on is played beautifully, with Trehearn’s subtle yet impeccable talents never putting a foot wrong. Yna Tresvalles is an emotional highlight as Jean, with a story that gets more serious as time progresses, allowing Tresvalles to deliver a slow-burning and effective performance. Kirsty Findlay similarly thrills in her role as Cait, delivering a standout performance on ‘Words Are Not Enough’.

Though the entire cast is impressive collectively, it is Frances McNamee who truly steals the show. Benefitting from her character, Sarah, being the most fleshed out and the person the show is centred about, McNamee has much to work with during the show, and she more than rises to the occasion. Wowing at every turn, her characterisation, believability and beauty in the role is awe-inspiring to witness, while her vocals took my breath away every single time. Though Ballad Lines tells the story of multiple women throughout multiple centuries, ultimately it is Sarah’s story at the heart of it, and so it is right that McNamee should dominate through her faultless performance.

There is a real beauty at the heart of Ballad Lines , which made it easy for me to fall in love with it. Though the book could use refining just a little bit with the need to tie everything together just a bit more neatly, the potential is clear to see - and even in its current state, the show is in incredibly good shape. That is largely thanks to the phenomenal songs that make up the musical and the stellar cast that gets to tackle this material. There are moments in the musical that feel reminiscent of Come From Away, Hadestown and The Curious Case of Benjamin Button - if you love any of those musicals, I’m fairly confident you’ll love this too. Though it hasn’t quite crossed the line into five stars (yet), Ballad Lines is still an impressive show - If it were a song, I would happily listen to it on repeat.

Ballad Lines plays Southwark Playhouse Elephant until 21st March. Tickets from https://southwarkplayhouse.co.uk/productions/ballad-lines/

Photos by Pamela Raith