Cable Street | Marylebone Theatre

Cable Street makes a triumphant return following two sold out runs in 2024, proving once again why new musical theatre should be given the attention and space that it deserves. Written by Tim Gilvin (Composer and Lyricist) and Alex Kanefsky (Book), and directed by Adam Lenson, the musical chronicles the events surrounding the October 1936 East London revolution at Cable Street.  

Cable Street follows the lives of three youngsters; the closet poet, a fierce and strong advocate for equal rights, Mairead Kenny K (Lizzy-Rose Esin-Kelly), the desperate, disheartened and frustrated Ron Williams (Barney Wilkinson) and the short-tempered, passionate and romantic Sammy Scheinberg (Isaac Gryn). With the rise of fascism at their doorstep and the lack of police accountability to enforce neutrality, the residents of East London face both verbal and physical abuse and intimidation on the daily. The three youngsters find themselves stuck in a tough situation, as they try to find employment to counter the ever rising rent prices in a job market that can offer them nothing. The musical takes a step back to explore each of their families and the community at a large, and how their peaceful world is moments away from shattering.

The musical is an ambitious one, undertaking a heavy topic that is riddled with layers of complexities buried under decades of history, yet finds the heart and humanity that renders the piece as timeless as ever. Kanefsky has created an interwoven world, permitting each of the characters to co-exist at once, reiterating how people of various communities put aside their differences and came together to rally as one.

The musical, admittedly, does pack a hefty amount of information and emotional storylines into the musical, yet the piece never feels burdened down by history. Kanefsky has created a larger narrative framing device of a present walking tour, recounting this movement from an old diary which connects neatly at the end, but for the most part distracts from the burning fire of the past. 

Lenson takes the momentous story and strips it to back to find the emotional threads of each of the characters, before slowly building it back up to the epic musical piece it confidently boasts to be. Placing the weight of the musical on the dreams and hopes of three very different but innocent youngsters, Lenson immediately sets up the emotional upheaval for a rewarding act two. Lenson's direction allows for the intimate moments to shine just as brightly, or arguably even more so, than the grander and louder scenes.

Lenson also handles Kanefsky's interweaving storylines with a clever hand, with the three neighbouring households often depicted all at once on stage (with lighting cues helping to differentiate each family). As the musical progresses and relationships and lives become more entangled, this is mirrored with a literal physical entanglement as the characters begin to interact with one another's space and furniture. This can be a tad bit confusing at first but is soon clear to follow, even bordering on brilliance. 

Gilvin's music and lyrics soar with several musical genres incorporated into the musical. Gilvin pays attention to the smaller details that mirror the characters and creates sound scapes drawn from each of the character's heritages. For instance, Sammy, who is forever on the verge of action, often sings faster with a rap-like quality to his songs. Although whether this is just his anger or foreshadowing of his future, it is still a genius creative choice to ponder on post show. 

The show starts off strong with My Street, immediately delivering a powerful revolutionary anthem that assures the audience that they are in good hands. Each of the powerful ensemble numbers are mighty and inspiring, truly urging audiences to seize the moment. The main three protagonists are given solo songs early on in the musical, not only demonstrating remarkable song and lyric writing, but also highlighting the high calibre of talent that is in the cast. Each song has been so carefully crafted with a wealth of brilliance stored within, that one could truly write an essay about the score alone. Needless to say, the soundtrack is one of the musical's greatest strengths and Gilvin is a talent that the industry ought to cherish.

For all the musical's strengths, of which there are many, it is not quite a flawless production. The pacing of the second act feels a little rushed at moments, as several major events (both on a political and personal level) occur, which doesn't quite allow the audiences to sit with the feeling for too long before immediately being rushed back into action. It also takes away some of the impact of moments that were significant in a bid to find a striking musical moment. The past/present narrative is brought up more frequently, and whilst interesting in its own right, it is a little cliche and predictable which prevents audiences from being too invested.

Yoav Segal has created a beautiful yet sparse set, using clever depth and detailing to create the sense of a looming apartment block in the background and shadows of a larger community. The two doors on either side of the stage representing the various households are used well and the wooden furniture is used to create a barricade effectively. A slight criticism is the hanging guitar ever present on the set wall, which is a practical choice for actor-musician Max Alexander-Taylor to quickly access amidst his many quick changes, but did prove distracting and out of place at times. Charlie Smith's sound design fills out the vast space of the Marylebone Theatre, allowing for the more passionate cries and musical numbers to fully engulf the audience. Lu Herbert's costumes replicate the historic accuracy, whilst providing other clever details specific to the characters.

Ben Jacob and Sam Waddington's lighting adds to the every moment of the show, illuminating the character's innermost emotions at any given time and dialing up on the dramatics. The show is doused with a base warmth, with additional lights layering on top or pulling away all the grandeur for more emotional and intimate moments. Waddington and Jacob's lighting cues also provide context for various dialogues and scenes as multiple plotlines co-exist. Jevan Howard-Jones' choreography helps create striking movement during the songs, filling the stage with crackling energy. Often used in the full company numbers, Howard-Jones goes all out with the cast are lifting furniture, throwing pamphlets as they passionately enforce their beliefs. Isaac Gryn as Sammy is extra slick, often on his own path as a trailblazer, weaving in and out of the larger company and always playing to the audience with an undeniable charm.

The cast are each incredible with the chance to really showcase their talents and shine. Aoife Mac Namara and Alexander-Taylor, though in limited roles, make a strong impression in their roles as Mairead's family (and other roles), with the former bringing a sense of innocence into a harsh world and the latter becoming a truly chilling presence (as a BUF member). Preeya Kalidas as Ron's mother and political author and activist Elizabeth Warner showcases her impressive acting range in the two roles. Natalie Elisha-Welsh and Debbie Chazen, with Kalidas, deliver one of the standout numbers Happening Again as three worried mothers in a heart-wrenching number. Elisha-Welsh, though in limited role, delivers a strong performance, whilst Chazen lights up the stage with her comedic talent.

Ethan Pascal Peters becomes a shapeshifter on stage, transforming himself entirely as he switches between his many roles (with an impressive commitment to the distinguished accents). His brief moments as a human representation of a newspaper (it is exactly what it sounds like) is delightfully unhinged. However, it's his turn as Moishe Scheinberg, Sammy's little brother that really has the audience connecting with him. Jez Unwin as Sammy's father has a show stealing number in Only Words, as his vulnerability spill onto the stage as fear strikes him with a performance that is just as astounding. Completing the family is Romona Lewis-Malley, who is mesmerising as Rosa Scheinberg, Sammy's sister. Lewis-Malley's soft and angelic vocals are both devastating and healing at once, along with a soft performance that is invaluable to the show. 

Lizzy-Rose Esin-Kelly as Mairead is one of the three powerhouse performers that raise the roof off of the theatre. Esin-Kelly's bravery is strongly felt throughout the musical, almost as though it was a lived experience as opposed to acting. Esin-Kelly's early solo What's Next?immediately cements her as a performer not to be reckoned with, with a performance that feels guttural and authentic. Barney Wilkinson as Ron beautifully conveys the tension that exists throughout the musical. Despite a whole other array of characters to root for, including two other protagonists, Wilkinson miraculously keeps the audience on his side as the good hearted man struggles to see his desperate adult choices through. Ron's internal battle is conveyed incredibly well by Wilkinson and results in a heartbreaking portrayal as the musical progresses. Wilkinson's acting is stunning but his vocals, even more so.

Gryn's performance is magnetic. His Sammy demands every eye to be trained on him as he bounds across the stage, rapping his thoughts, calling for justice and jumping into action. Gryn's Sammy is quick-tempered and emotional, allowing his heart to lead the way and resulting in a passionate performance that single handedly elevates the show from a memorable musical to an unforgettable one. Gryn's performance is heartfelt as he pours his entirety into every moment, vibrating with the sheer intensity of every emotion that pass through him. His vocal capability is wondrously emotive as his voice cuts through the audience, and yet his ability to enunciate every word regardless of speed and emotion is particularly impressive.

The musical knows when to expand and contract onto the larger battle and community, and the large emotions of individuals, painting a portrait in music that is powerful and lasting. Whilst the lyrics are the primary source to connect with the characters and call for action, there are several dialogues that really become unforgettable for the sheer raw truth they hold within them. Cable Street is a mighty musical retelling of the 1936 event and is a show that you won't want to miss. With history slowly repeating itself; Cable Street becomes more than just a tribute to The 1936 Battle of Cable Street, it becomes a warning call to the present day. 

Cable Street is currently playing at the Marylebone Theatre until 28th February before making its off-Broadway debut in April. Tickets and more information can be found here.

★★★★☆ (4*)

Gifted tickets in return for an honest review | Photography by Johan Persson