Review: Bloody Mary and the Nine Day Queen (Union Theatre)

Review by Rosie Holmes

⭐️⭐️

There’s something undeniably powerful about seeing history brought to life on stage, especially when it’s history you know intimately. As someone who had hot-footed it from the historical Palace where Lady Jane Grey spent her final days, I walked into Bloody Mary and the Nine Day Queen with a sense of anticipation and personal connection. This brand-new musical sets out to dramatise the tragic tale of two of England’s Tudor queens, Lady Jane Grey and Mary I through song, storytelling, and a fresh theatrical lens. And while the ambition is admirable, the execution doesn’t quite live up to the promise.

The show dives into the heart of the Mid-Tudor Crisis, a period of political upheaval following the death of Edward VI in 1553. With both Jane and Mary laying claim to the throne, one more strongly than the other, and each backed by powerful, manipulative men the stage is set for a gripping tale of power, faith, and betrayal. The musical wisely leans into the idea of these women as pawns in a larger game, used and discarded by those around them, but also attempts to give them a voice and portray them as more than just pawns, and as intelligent women devoted to their faith. 

However, while the story is rich with potential, the show sometimes struggles to maintain momentum. The use of a permanent execution block on stage as a chilling reminder of Jane’s fate attempts to create tension, but the pacing falters in places. Tension builds, only to dissipate too quickly, most notably in the final moments when Jane’s execution is portrayed, lacking the emotional payoff with slightly clumsy direction.

Musically, the show is a mixed bag. The score certainly shows promise, and there are glimmers of brilliance. ‘The Puppet King’, a cheeky, energetic number about Northumberland’s control over the young Edward VI, is a standout for its wit and theatricality, though the king’s portrayal as an actual puppet will certainly be divisive. That said, most of the songs, while wonderfully performed, don’t quite make an impact. Unlike many musical theatre experiences, I didn’t leave humming any particular tune, and I found myself wishing for a showstopper that never quite arrived.

That’s not to say the cast didn’t give it their all. In fact, they’re the production’s strongest asset. Anna Unwin, who also co-wrote the show, is vocally stunning as Lady Jane Grey. She brings a quiet dignity and emotional depth to a character often reduced to a historical footnote. Her Act One closer, ‘Turn This Around’ is a highlight, showcasing her vocal prowess and emotional range. Her chemistry with Johnnie Benson’s Guildford Dudley is tender and believable, even if history might suggest otherwise.

Cezarah Bonner’s Mary I is a commanding presence, fiery, fierce, and unrelenting. While the portrayal leans heavily into the “Bloody Mary” stereotype, there are moments where we glimpse the woman behind the crown, shaped by trauma and manipulated by those around her. Still, the depiction veers into caricature at times, and the tone of the show occasionally slips into what feels like anti-Catholic territory, which may not sit well with all audiences.

One point that left me puzzled was the title itself. For a show that aims to reframe these women as more than just pawns in a man’s game, it feels oddly reductive to refer to them by the very nicknames, “Bloody Mary” and the “Nine Day Queen”, that have historically simplified and diminished their legacies. It’s a contradiction that undermines the show’s otherwise noble intentions.

The set, designed by Ella Burrell, is simple but effective. A Tudor rose banner cleverly conceals a surprise that honours those killed for their faith. The intimate space is used well, though the production sometimes feels constrained by its scale, particularly in some dance numbers which could have benefitted from larger scale choreography.

Bloody Mary and the Nine Day Queen is a show with heart and historical intrigue, but it’s still finding its footing. As the writers Anna Unwin and Gareth Hides state in the show’s programme, its an attempt to make a complex period of history accessible to a modern audience, something I’m deeply passionate about, but it doesn’t quite deliver the emotional or musical impact it aims for. And while the cast’s harmonies, especially in the epilogue, are spinetingling, the songs themselves need further development to truly soar. There’s potential here, no doubt, With some tightening of the script, a more nuanced approach to its themes, and a few musical rewrites, this could become a wonderful piece of theatre.

Bloody Mary and the Nine Day Queen plays at the Union Theatre until 29^th October 2025, tickets and more information can be found here - Bloody Mary and the Nine Day Queen | Union Theatre

Photos by Colin Perkins