Redcliffe | Southwark Playhouse

Redcliffe, a new musical with book, music and lyrics by Jordan Luke Gage and directed by Paul Foster, makes its hugely successful premiere at the Southwark Playhouse. Following three years of developments and two public workshops, the finished musical is arrestingly beautiful. 

Redcliffe is inspired on the true events that occurred in Redcliffe, Bristol in 1752-1753, at a time when homosexuality was illegal and the punishment was public hanging; and William Critchard (Gage) and Richard Arnold (Dan Krikler) found one another. The musical, as one would expect, is tragic as it recounts their love story and their hopes for a better world; along with the stinging reminder that this is a reality that several countries still face and that LGBTQIA+ hate crimes are rising now more than ever as today's political landscape sadly remains rooted in the past. 

Gage, who is primarily known for his talent as a musical theatre performer leading shows such as Bonnie and Clyde, Bat Out Of Hell, Bat Boy and starring in Titanique, & Juliet and Heathers, reveals a new side to him in this musical as he single-handledly has written the book, music and lyrics for one of this year's most highly anticipated musicals. If this is Gage's debut, it is needless to say that he is a bound for a promising legacy in his own right. 

Redcliffe is one of those rare new musicals that just gets everything right; the characters are fully developed and feel relatable. The story is alive, the emotional stakes are rich, the lyrics are evocative, the pacing is steady, the cast are phenomenal- it truly is one not to be missed. Gage has clearly taken efforts to refine this musical to a high standard, and the musical soars because of this. 

Redcliffe's success derives from its interrogation of the nature of the unfolding events. Whilst audiences are able to predict the eventual outcome, the plot twist still catches everyone by surprise with an audible gasp. Gage digs into the grittier elements of the unfair treatment, even torture, that suspected men were forced to endure, making certain scenes a hard watch and yet never letting the darkness wash away the light. It's a fine line to balance upon, but Gage succeeds in achieving this. 

Foster's direction brings out the best in each cast member, allowing the script and story to guide the cast but also tapping into their own natural talents. Foster weaves joy, pain hope and dread together beautifully, allowing each emotion to be highlighted. Between Gage's exquisite writing and Foster's direction, they've created a piece that breathes and flows naturally, with the truth behind every thought captured and portrayed beautifully.

The show feels stripped back, careful to never overwhelm the character intentions with any glimmer of a spectacle, and yet takes to the stars when it does allow itself to touch new heights. The tensions rise and audiences can find themselves nearly choked by the potential dangers that lurk in the darkness, along with the looming knowledge of the tragic end. 

Emma Woods' choreography guides the story along, utilising the intimate space well, and allowing for quick elevations in varying circumstances and for multiple layers to occur as one. There are several such moments where the choreography comes together to create something brilliant in the background. Another standout is the final scene as William and Richard find their way back to one another despite all their obstacles. It's a refreshing creative choice to see how the choreography adds to the storytelling, instead of merely assisting it. 

Andrew Exeter's minimalistic set consists of a long wooden platform completed by a metre or so of water that doubles as the surrounding sea of Redcliffe. A worn wooden rectangle hangs from above, with the location, date and names of the two men carved into it; as though containing the story in their own bubble. A thin lighting panel runs along the back wall of the set and behind the audiences, that under Matt Hockley's design, helps ramp up the emotional tension on stage. Hockley's design is used most beautifully in the show's final moments, as the use of light and wind create a visually striking moment. Alistair Penman's use of the gentle waves in the background during William's imprisonment is a clever addition adding both physical and emotional depth. 

Haruka Kuroda's work as both fight and intimacy director feels natural; with William and Richard's tender touches conveying their longing and love for one another, whereas the fight between William and the officer is startlingly realistic. Martin Hanly's costumes for Abigail are particularly impressive, capturing the homemade efforts of a young girl to create a pretty lilac dress from various materials and dyes. This is taken a step further in a small but significant moment as she is draped in shawls by the townsfolk, creating an unexpectedly unique and gorgeous gown through movement. Richard's navy and party attire, along with William's own feathered collars, really captures the time period of the show. 

Steven Serlin proves his versatility taking on the jolly Felix Farley with his infectious mirth and excitement, and then a whiplash turn as the officer with the harshest and vile portrayal in the show's toughest scenes to stomach. Jade Johnson, Phoebe Kyriakopoulos and Adrian Hansel deliver strong performances and even stronger vocals in their roles. Melissa Jacques as Georgie brings a rousing sense of comfort, with a warmth that continues even in the coldest moments of rejection. Joseph Peacock is deeply endearing as Arthur, with a particularly charismatic portrayal of youthful naivety and loving dreams of a different future. 

Jess Douglas-Welsh is an absolute delight whenever she is on stage. Douglas-Welsh, who has been with this musical since its early development, renders Abigail as the musical's emotional anchor. Douglas-Welsh is an excellent singer with a great ability to bring out nuanced emotions with ease, as evidenced in her song The Girl From Redcliffe, and brings out a rekindled energy when singing with Rebecca Lock on The Most Amazing Wedding and Loophole. Douglas-Welsh perfectly encapsulates the essence of a first love and first heartbreak, as the world slowly shuns her away, and yet still manages to be compassionate and loving, with her own playful and fiery personality making Abigail a truly remarkable character. Her moments with Gage are particularly adorable. 

Lock, as Mother, delivers a masterclass performance, and enhances the show by simply bringing her absolute best to the show. Lock, who has also been attached to the show since its early development, provides audiences the biggest laughs, and perhaps some of its tear-inducing moments. Lock's larger than life portrayal of a mother desperate for her son to find love is wonderfully dramatic and has the audience in stitches numerous times in the first act. The second act is perhaps even better for Lock as she unleashes a powerhouse performance of a mother who loves and is unwaveringly supportive of her boy, yet is still unable to fully accept his homosexuality and let go of her beliefs. It's an exhaustive performance to watch as Lock wrestles within herself and is left to carry the burden of the world alone, whilst being there for both her children. Her song Hurricane is an immediate stand out, and Lock becomes the storm herself. 

Krikler, as Richard, is charming with an undeniable magnetic stage presence and melting vocals that carry a compelling emotional edge to it. Krikler's easy-going nature, playful banter and challenging quips make audiences swoon fairly quickly; allowing audiences to step into William's shoes in the first act. Krikler's earnest performance as he and William become closer is a gentle and loving one that feels authentic and evokes the sensation of finally feeling safe and at home. Krikler's natural flair for word play and comedy are used well here, but it's in the show's final moments as he recounts his feelings with a sincerity that really highlight Krikler as one of the industry's most capable young performers. Krikler's chemistry with Gage is riveting and they truly bring their characters' relationship to life. 

Gage is nothing short of exceptional in this show. William is a gentle soul with a shy disposition, and is a loving brother and son. However, from almost the musical's get go, he is at a breaking point as the family's sole provider who has been recently made unemployed, as a son who can not fulfill his mother's wishes, as a man who can not love openly and freely and as a human who is felt to made less than. It's a heartbreaking portrayal of a realistic picture, and Gage really ensures that William's pain is always visible. The moments when the voices inside his head are quiet during the brief moments spent in Richard's company, allowing him to slowly feel himself bloom, is heartwarming; making the rest of the show all the more heartbreaking. Gage demonstrates the duality of William with a fantastic performance as he lays himself (metaphorically) bare on stage. Gage's solos Pressure Pot, Void of Love and I Am Found emerge from the depths of William's being, with a career defining performance from Gage.

Gage has created a score wherein nearly every song has a divine meaning. The lyrics are clever and well-written, using rhyme and rhythm to convey the mess inside William's head; and the sweeping lyrics that place their love in the heavens along with the grand music is impressive by all means, but outstanding considering this is Gage's debut. There are several excellent songs, however, Never Getting Rid Of Me, the act one closer duet by William and Richard, genuinely is one of the most beautiful musical theatre songs of all time. 

Gage is keenly aware that the story of Redcliffe follows in the footsteps of countless others, and yet still manages to find a unique voice and carve out a space where the musical thrives. It is truly a beautiful musical that has the audience laughing, gasping, and weeping, all whilst enjoying the tremendous talent of the entire company.

Redcliffe is currently playing at the Southwark Playhouse Borough until 04th July - tickets and more information can be found here.

★★★★★ (5*)

Gifted tickets in return for an honest review | Photography by Pamela Raith