Bury the Hatchet | Southwark Playhouse

Bury the Hatchet digs up the buried history of Lizzie Borden, who was famously accused of brutally murdering her father and step mother in their own home on the 4th August, 1892. Their murder remains a mystery to this day, with Lizzie Borden being declared "not guilty" and yet one can never quite separate her from the case, given the conflicting stories that were unearthed in trial and the rather suspicious circumstances. This case has always been a fascinating one, tackling more than just the murder itself but a questioning of the entire justice system, and this show hones in on the latter with its brilliant and unique approach.

A show about a rather gruesome true crime case may not sound like way one would want to spend an hour immersed in and yet there is nowhere else you'd rather be once the show begins. Right from the get go, the show subverts any preconceptions that one could have about the show, refusing to become yet another show that dramatises the event; instead taking audiences on a playful journey of discovery. Audiences are presented with pieces of information, quoted directly from actual court documents and well known facts, and given the chance to make up their own minds (there's even an option as you leave the theatre to add to a long list of votes).

What sets Bury the Hatchet apart from any other such show in this genre, and frankly most shows in recent years, is its habit to break the fourth wall and provide audiences insight into the cut portions of the show, along with explanations as to why. Sasha Wilson, the writer, is also one of three cast members, and provides us with truth of her research trip to the actual Borden family home (now converted into a museum with the couch still present, and bed and breakfast for guests to re-enact their own murders!).

The cast completely drop the multiple roles that they play within the traditional narrative, addressing each other with their actual names, and in their own accents, as they playfully bicker as friends about the show. Whilst this brings much of the humour to the show, and deflects from the more intense themes, it also works beautifully as a theatrical device that brings a refreshing sense of kinship to the show. The play chronicles the life of Lizzie Borden, focusing particularly on the 3rd and 4th August and the many days following the incident. The writing is clever, weaving in true facts and dialogues, along with a snappy script that keeps the momentum high throughout.

Bury the Hatchet is the second show about Lizzie Borden in recent years at the Southwark Playhouse, (following the 2023 run of a musical entitled Lizzie), and yet manages to create something entirely different. With a cast of talented actor-musicians, the show includes a few musical moments as well, although these are more snippets rather than whole songs. The show begins and ends with covers that both lyrically and musically feel apt to Lizzie's present state, with gorgeous rearrangements and emotionally charged performances. These songs not only showcase the cast's talent, but invokes a real sense of sorrow or unsettlement to the show that casts a shadow over it.

Directed by Vicky Moran, the show makes good use of the intimate space with audiences on all three sides, allowing for trial proceedings to feel particularly immersive. The cast are ever present, moving across the stage in a well choreographed manner, slick with scene and character transitions. Moran allows for the script's own natural brilliance to be at the forefront and also invites the cast members to bring their own natural talent, comedy and music,to their roles.

Damien Stanton's set design is fascinating from the moment audiences step into the auditorium, with red taped and crossed out photos guiding audiences into the main space. The reddish pink painted wall and floor feels important, but it's the bedazzled hatchet that hangs from the ceiling, casting a formidable shadow, that really draws the attention, although this is removed for the show itself. A wall of wooden shelves is home to props and the back wall lighting rig, providing the show with a cinematic feeling. Stanton's attention to detail with the props is particularly noticeable as each prop has a hand written evidence tag on them.

Will Adler's lighting design is exquisite, providing a warm glow throughout the plot scenes to highlight the growing tension before immediately undercutting it with the regular colder lights as the cast break out of their roles. The use of spotlights create a doorway into Lizzie's inner world, but it's the impressive use of abrupt blackouts (normally following an act of violence or scream) that really affects the audience. Helen Stewart's costumes are wonderful period costumes, especially Lizzie's red and black dress, making her look both regal and dangerous. The cast take on an array of characters and this is visually aided by an accessory that soon becomes associated with each character.

The small but mighty cast size of three create a whole world where in each character feels alive, with tremendous talent as both actors and musicians. David Leopald delivers a strong performance, ensuring that each of the roles he plays has an emotional depth and edge to them, whilst also gifting audiences with gorgeous vocals and guitar playing that really evoke strong emotions. Lawrence Boothman's natural flair for comedy dazzles on stage, somehow making nearly every role that he takes on funny in some way; not to mention his own campiness when he performs as himself. A talented violinist and performance, Bootman adds great value to the show.

Wilson immediately proves her fire as Lizzie Borden, with a performance that encompasses a multitude of emotions. Wilson brings out Lizzie's fear, guilt, intelligence, anger, betrayal, hope and so much more with a sense of deep connection to the role. Audiences, who may otherwise be caught up in the logical presentation of the facts and the trial, are instead focused on watching Lizzie undergo everything in the short span of a few weeks.

The show may only be 80 minutes long, but manages to get a lot across without every feeling long or unnecessary. In fact, from the moment that the audience is ushered in, they are engrossed in this gripping world that Wilson has so brilliantly constructed.

Bury the Hatchet is playing at the Southwark Playhouse until 5th September 2026 - tickets and more information can be found here. 

★★★★★ (5*)

Gifted tickets in return for an honest review | Photography by Alex Brenner