Review: Bury The Hatchet (Southwark Playhouse Borough)

Review by Ruth Sealey

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I first became aware of the Lizzie Borden case when I watched the riotous pop-rock musical Lizzie at Southwark Playhouse Elephant in 2023. Unsurprisingly, cases such as these continue to fascinate us, even over 100 years after the event, and Bury The Hatchet at Southwark Playhouse Borough offers audiences a new take on this infamous crime. The idea of a woman committing such brutal murders is enough to capture our attention, while the fact that the case remains unsolved only adds to the intrigue. But would this new take on the infamous murders really bury the hatchet, or reopen new wounds?

Set around events that unfolded in August 1892 in Fall River, Massachusetts, Bury The Hatchet takes the audience through the events surrounding the unsolved murders of husband and wife Andrew and Abby Borden. Both were found murdered in their own home, with their daughter Lizzie becoming the prime suspect.  Following her trial, she was found not guilty, but as the cast notes “Maybe being found not guilty is not the same as being innocent.” Lizzie is forced to forever live with doubt and distrust, effectively living as a recluse until her death, never able to shake off the weight of suspicion. Three actor-musicians run the show, taking us from the courtroom to the Borden home, and replaying the actual events (or possible events) of the day in question as they re-examine the evidence of the infamous crime.

I always feel a sense of excitement when a writer creates something that feels entirely fresh, especially when the show has started in fringe theatre and has worked and grown with its audience. Writer Sasha Wilson has managed this with Bury The Hatchet, creating something truly unique here that other shows could certainly learn from. It is hard to define this show as one particular genre: it has music and actor-musicians making it feel like a musical, real-life accounts that make it feel like a crime documentary and actors multi-rolling multiple characters that make it feel like a play. There is no confusion here, however, and Bury The Hatchet, as far as I am concerned, can be whatever it wants, whenever it wants. Wilson incorporates some excellent musical choices into the production, all played live by the talented cast. The music shifts from contemporary to bluegrass folk to the eerie lyrics of ‘Don’t Leave Nothing But The Baby’, with each choice helping to create atmosphere and pull the audience further into the story. I am a huge fan of bookending a show when appropriate, and using Nina Simone’s ‘Birds Flying High’ is an inspired choice.

Wilson’s writing also captures some pretty meaty issues to consider. It raises questions of whether the influence the Catholic Church's art that Lizzie sees on a trip to Europe, where “Gore is grandeur and pain in piety,” could in any way explain Lizzie’s possible involvement in the murders. It also tackles how the media can influence opinion, and that is not out of place today as, “Uncertainty is a great breeding ground for myth.” Alongside the more serious messages, Wilson has a real skill at bringing the audience back to Earth with a well-placed mention of the Daily Mail and Jet2holidays. It takes real skill to incorporate such contrasting elements so effectively, and this is something Bury The Hatchet does particularly well.

Vicky Moran’s direction weaves the themes together seamlessly, allowing clear jumps in and out of character. The pace is fast, the dialogue quick, and the audience interactions unpredictable, but she keeps the tangled threads of this tale on track. There is never any doubt as to when the actors are themselves or in character, with small costume touches or props signalling the shift. Their direct address from the outset is inspired, and the use of their regional accents adds to the sense that we are meeting the actors as themselves. At times, it feels like talking with friends about a breaking news story; such is the focus of the writing combined with Moran’s direction. Props are used precisely to mark location and time, with the bang of a chair signaling a definite change of time and place. The cast moves fluidly around the set, subtly moving props and instruments around the stage, while clever touches such as a step-ladder becoming the witness box create height and variety. We are invited into the discussion, and Moran ensures that this sense of inclusion is maintained throughout. The audience effectively becomes the public in the courtroom, drawn into the action rather than being left as observers.   

Lawrence Boothman and David Leopold both take on multiple roles, and the dynamic between them is strong as they bounce off each other with ease and confidence. They are entirely believable as friends unpicking the case together, playfully arguing over the technicalities of the trial and investigation. Leopold controls much of the music with his guitar playing and smooth harmonies, while his interaction with the audience is handled with real skill. Boothman brings a real buzz of energy to the trio and manages to raise the most laughs from the audience, despite the gory subject matter. His physicality is hilarious and sad in equal measure, always pitched just right, while his violin playing adds another layer of musical charm to the proceedings.

Sasha Wilson is incredible as Lizzie, creating real contrasting emotions, and I found myself genuinely conflicted about her guilt or innocence. The fact that she makes me care about Lizzie and want to believe in her innocence is a testament to the strength of her portrayal. She is angry at points and vulnerable at others, used by the men around her, drugged and confused, until her story becomes one of contradiction and self-incrimination. Wilson then picks up her mandolin to become part of the ensemble, singing with a wistful and enchanting tone. There can sometimes be a danger in writing and starring in your own production, but that is certainly not an issue here. Wilson combines both elements with real skill, while her interaction and direct address to the audience feel completely natural and there is a responsiveness from her to the audience reactions that makes it a joy to watch.

Damien Stanton’s design is minimalistic, centred around shelves of props at the rear of the stage that effectively become the evidence from the Borden case, complete with evidence labels. The cast retrieve these as needed, and they become part of the storytelling, with history woven naturally into the action. Initially, the hatchet in question glitters ominously above the stage before disappearing to be replaced by a hatchet on the evidence shelves. Lighting by Will Alder relies heavily on the use of stage spot-lights, with a rack of them shining outwards from the back of the stage. Predominantly white or pink, they mirror Lizzie’s stunning dress by costume designer Helen Stewart, while additional spotlights from above illuminate the characters at key moments in the show. Particularly impactful are the points where Lizzie swings the hatchet, leaving her perfectly silhouetted before being plunged into darkness. It is a simple but highly effective example of how lighting can create genuine stand-out moments of theatrical creativity.

Bury The Hatchet treads a fine line between truth and fiction, constantly asking questions of the audience. What is truth and what is fabricated? What has been sensationalised and what has been ignored? It pulls apart the infamous events, pieces them back together, and ultimately asks what we would choose to believe. Inventive staging, actor-musicians and sharply focused writing make Bury The Hatchet an example of how fringe theatre can evolve into something exceptional. At times, it feels as though the show only scratches the surface of the case, leaving me hoping that it will continue to grow and return with even more to offer. Unique in its approach, heartfelt in its portrayal of Lizzie and packed with enough questions that linger long after the final bow, Bury The Hatchet certainly leaves its mark.

Bury The Hatchet plays at Southwark Playhouse Borough until 5^th September. Tickets from https://southwarkplayhouse.co.uk/productions/bury-the-hatchet/#book-tickets

Photos by Alex Brenner