Review: The Last Ship (Theatre Royal Drury Lane)

Review by Daz Gale

⭐️⭐️⭐️

A musical written by and starring a global superstar sails into Theatre Royal Drury Lane this week, as Sting’s The Last Ship finally makes its long-awaited and long delayed West End debut. It’s been a long and occasionally turbulent voyage for the musical since its premiere twelve years ago, having to navigate rough waters and various obstacles, with the show being revised and rewritten multiple times along the way. In theory, that should mean it’s now the best version of itself, so would it be smooth sailing for this West End run, or would there still be a sting in its tail?

Beginning development as early as 2009, The Last Ship received its world premiere in 2014, moving to Broadway later that year though struggles with that run meant it closed a few short months later. Since then, reworked versions have embarked on a UK tour and International productions, with the latest iteration cruising around the world on a massive tour all through 2026, finally docking in London. Inspired by his childhood in the North East of England, The Last Ship is set in the shipbuilding town of Wallsend as a close-knit community face the closure of their local shipyard that has been the livelihood of their families for generations. Facing the very real threat that the current ship they are working on really will be the last ship, the town comes together to fight for their future.

There have been several writers of The Last Ship since its 2014 premiere, with this latest iteration written by Barney Norris. There is a slight sense of different ideas and elements from different writers being stitched together as various strands attempt to come together, often unsuccessfully, leading to what is initially a confusing and confused watch. Being blunt, The Last Ship got off to one of the weakest starts I have ever seen in a major musical, suffering from a severe case of low energy and failing to enrapture the audience in its opening moments. Thankfully, it soon picked up the pace and while it is by no means the most explosive or exciting musical, it got better as it progressed, making for an enjoyable albeit far from groundbreaking production. There is a sweet morality tale to be found in the sense of community, though the show still suffers from a story that feels underdeveloped, characters that come across as one-dimensional and plot points that are far too predictable.

Perhaps the biggest strength in this production of The Last Ship is in its stunning and striking visuals. Making full use of the sprawling stage at Theatre Royal Drury Lane, the production continually impresses with 59 Studio’s design and Jenny Melville’s set design bursting to life through some of the best video design I have ever seen, courtesy of Benjamin Pearcy. Reminiscent of the immersive exhibitions that are becoming a fixture in London such as Pompeii or, for an obvious comparison, Titanic, these videos are anything but a disaster with a particularly thrilling end leaving my jaw wide open. Where the previous resident of Theatre Royal Drury Lane didn’t quite make use of the huge space available to it, The Last Ship has no such problem, utilising every inch of that cavernous stage, high and wide in a production that is breathtakingly beautiful to see.

Though this is a big production, it doesn’t necessarily carry all the way through the theatre, giving the sense that a slightly more intimate space may have benefited the story more and allowed for the audience connection and sense of emotion that was missing. There are still several obstacles in the way of this production, but director Leo Warner navigates them with confidence, steering the ship in the clearest and safest way he can to ensure the ride is as far from bumpy as possible. This leads to some striking imagery, with the finale incredibly powerful in its execution and a testament to Warner’s direction, with a strong use of choreography from Rebecca Howell peppered throughout. Warner is at his best in the larger moments, with a gradually growing and eventually rousing act one finale of the show’s title number, ‘The Last Ship’ showcasing the show at its very best. Ultimately though, there is only so much a director can do with the tools at his disposal and even he can’t glue together some of the weaker aspects of the book, giving the sense that this is a good production of a middling show.

Much of your own enjoyment of the show is going to come down to how much of a fan of Sting’s music you are, with many of the songs offering his signature style, not being much of a stretch to hear his voice on them, even when he isn’t the one performing them. Musical numbers such as ‘August Winds’, ‘All This Time’ and ‘When We Dance’ speak to his musical genius with the assurance that you are never far away from the next beautiful melody. Occasionally, some of the numbers can feel a little bit samey, but once you get accustomed to the sound, you accept that this isn’t necessarily going to be a conventional musical and embrace the style. The understated nature of some of the numbers did feel like a missed opportunity in the vast space of Theatre Royal Drury Lane with the sense that a bigger band may have brought the numbers to life in a way befitting of the space, but that is a minor complaint all things considered.

Sting also stars in the production, taking on the role of Jackie White. There is certainly something special about seeing a performer of his stature on stage, particularly in a show he has written. The moments he is singing bring a sense of magic to the show, though his presence as an actor does mean he sometimes struggles to compete with the others on stage in that regard. That perhaps is more a credit to their strengths than anything else, with Declan Bennett shining as Gideon in a charismatic and compelling turn. And then there’s Sting’s regular singing partner, Mr Boombastic himself. Though I wouldn't go as far as to call Shaggy's performance as the mysterious (and dare I say underwritten and occasionally confusing) Wallsend Ferryman fantastic, but it was solid enough albeit in a role that doesn't offer too much. Be advised though, Shaggy was only in the role for the first two performances so if you're venturing to the show for any of the subsequent ones, it wasn't him.

It is the women who truly dominate this production, however. Jackie Morrison is a delight as Peggy White, elevating her scenes with Sting’s Jackie in a sweet and believable performance. Hannah Richardson is a highlight as Ellen, making the most of what feels like a shoehorned-in, by-numbers and predictable second story with a strong characterisation and some stunning vocals on ‘All This Time’, a performance which I would call THE vocal standout of the night. However, the overall standout is undoubtedly Frances McNamee for her sensational and scene-stealing turn as Meg. There is a real force and power to her performance, and when she gets the chance to sing, it feels as if the stars are aligning. From a beautiful ‘August Winds’ to an understated ‘It’s Not The Same Moon’, The Last Ship is infinitely better whenever McNamee is performing. 

The Last Ship is a show I have been keen to see since it was on Broadway and I certainly don’t have any regrets about attending its West End premiere. Admittedly, it is far from original or groundbreaking but it is still pleasant enough in itself. I think the key word to use here is “uneven” as the musical demonstrates some incredible aspects - when it’s good, it’s pretty damn good. However, it also has some weaker attributes that let it down. Now on its third writer, the book suffers from a lack of cohesiveness and is in dire need of fleshing out. The show also struggles with comparisons to others with similar themes who manage to tell their stories more successfully. There is nothing wrong with The Last Ship in that regard - it just feels as if we’ve seen it all before. Still though, it was worth it just for the chance to see Sting in his element and for the rare chance to experience his musical while it is docked in London. Not a shipwreck by any stretch but its journey does often get slowed down by choppy waters.

The Last Ship plays at Theatre Royal Drury Lane until 3rd October. Tickets from https://allthatdazzles.londontheatredirect.com/musical/the-last-ship-tickets

Photos by Nienke de Groot